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TEACHERS' OUTLINES FOR 

STUDIES IN ENGLISH 



BASED ON THE REQUIREMENTS FOR 
ADMISSION TO COLLEGE 



BY 

GILBERT SYKES BLAKELY, A. M. 

INSTRUCTOR IN ENGLISH IN THE MORRIS HIGH SCHOOL 
NEW YORK CITY 




NEW YORK •:• CINCINNATI •:• CHICAGO 

AMERICAN BOOK COMPANY 






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r usaSv of coNasBss! 

5 wo Copies fleca*^ 

JUM 27 1903 
A/44 J /?'£ 

GLASS /3 XXc, Mi* 

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Copyright, 1908, by 
GILBERT SYKES BLAKELY 



Entered at Stationers' Hall, London 



Studies in English 
w. P. I 



PREFACE 

The following plans of study for the English texts 
commonly used in secondary schools are presented in 
the hope that they may be suggestive to teachers of 
English who are struggling with the various problems 
which confront them. Each teacher, of course, must 
work out his own plan in accordance with the needs 
of his pupils and the conditions under which he works; 
but, as it is helpful to observe the class-room work of 
other teachers, so it may be helpful to see a fellow teach- 
er's plans of work. I wish to disclaim any desire to 
dogmatize about the methods or the details of teaching. 
If I have anywhere assumed a tone of authority, it has 
been merely for the sake of brevity in stating my opin- 
ions. 

Three books on the teaching of English have re- 
cently appeared: The Teaching of English by Percival 
Chubb, The Teaching of English by Professors Car- 
penter, Baker, and Scott, and Talks on Teaching Litera- 
ture by Arlo Bates. A 11 of these are full of inspira- 
tion and suggestion toi me as they doubtless are 
for hundreds of others; they ought to be within reach 
of every progressive teacher of English. The present 
3 



4 Preface 

volume is essentially different from these in purpose. 
It aims, not at a discussion of the principles of teaching, 
but at the application of certain principles to the teach- 
ing of some of the books required for admission to 
college. 

References by page or line to the book under dis- 
cussion are to the texts of the Gateway Series. 

For suggestions concerning the plan of the book and 
certain of its details, I am under obligations to Dr. 
Henry van Dyke. I desire also to express my thanks 
for helpful criticism to several of my fellow teachers 
in the Morris High School, especially to Mr. Harold E. 
Foster who has kindly read most of the manuscript. 

G. S. BLAKELY. 
The Morris High School. 



CONTENTS 



I. The Teaching of the Novel 
Outline for the Study of Ivanhoe 

" u " " " The Vicar of Wakefield 
" " " " " Cranford 
" " « " " Silas Marner 
II. The Teaching of Narrative Poetry 

Outline for the Study of The Lady of the Lake 
" " " " " The Ancient Mariner 
" " " " The Ldylls of the King 

III. The Teaching of Lyric Poetry 

Outline for the Study of L? Allegro and 77 Penseroso 
" " " " " Lycidas 
u " " " " The Deserted Village . 

IV. The Teaching of the Drama .... 

Outline for the Study of The Merchant^ of Venice 
" " " " " As You Like Lt . 
11 " " " " fulius Ccesar 

"' " " " Macbeth 
" " " " " Comus 

V. The Teaching of the Essay .... 

Outline for the Study of the Sir Roger de Coverley 
Papers . 
11 " " " " Irving's Sketch-Book . 
»' " " " " Franklin's Autobiography 
5 



PAGE 
7 

io 
16 

20 
24 

30 
33 
40 

44 

54 
55 
57 
60 

63 
6? 

72 

75 
79 
83 
S6 

88 
93 
99 



Contents 



Outline for the Study of Carlyle's Essay on Burns . 101 
" " Macaulay's Life of Johnson. 104 
" " Burke's Speech on Concilia- 
tion . . . .107 
" " Emerson's Essays . .114 
" " W ebst er 's First Bunker Hill 

Oration . . . .123 
" " Washington's Farewell Ad- 
dress . . . .127 



Appendix 

College Entrance Examinations in English 



I 3 I 



STUDIES IN ENGLISH 

I. THE TEACHING OF THE NOVEL 

All will agree that the novel is one of the most im- 
portant forms of literature for high school study. The 
fact that almost every boy and girl who is at all interested 
in reading likes the novel, gives the teacher an excellent 
opportunity to stimulate the pupil's love for literature 
and to help him to discriminate between what is true and 
what is false; between what is cheap and what is worth 
while. Moreover, the study of the novel is the study of 
life and character. It is of great human interest, and it 
may be made an important factor in developing the 
pupil's ambition, judgment, ideals, and character. Good 
stories grow in meaning with the growth of mental power. 
The Iliad and The Odyssey are full of delightful stories 
for boys and girls, but these same stories, securely fixed 
in the youthful mind, gain a deeper meaning from ex- 
perience as the child develops into the man or the woman. 
Furthermore, interest in a good story leads to other in- 
terests. It may encourage a love of nature, stimulating 
to closer observation. It may awaken a love of his- 
tory, or of travel, or of some of the innumerable interests 
of human activity. 

7 



8 Studies in English 

Unfortunately, young people's delight in the reading 
of the novel is a source of danger. The drama and the 
essay appear so full of difficulties that the student re- 
gards their study seriously, as a task, and finds it neces- 
sary to apply himself vigorously in order to master 
them. On the other hand, the novel is so delightful, 
so easy, that he looks upon it as a pastime. A su- 
perficial reading often gives him knowledge of many 
of the main facts, and a mistaken idea that he knows 
the story. It is the task of the teacher to get him to 
read with careful attention and with imagination keenly 
alive. When a fair mastery of the facts of the story 
has been gained, and clear mental images of the scenes 
portrayed and suggested have been formed, studies of 
plot, character, interpretation, etc., should follow. These 
studies, if they appeal to the class as reasonable, will 
stimulate thought and imagination and will help to form 
a basis for sound judgment and a habit of just criticism. 

The practical plan here presented for the accomplish- 
ment of these ends involves three steps: first, preparation 
of the class for taking up the work; second, reading and 
study for the purpose of getting the facts; third, compre- 
hensive study of the book as a whole, in addition to a 
comparison of it with other books. The purpose of the 
first step is to arouse an interest in approaching the story, 
and to prepare the pupil for an intelligent reading. In 
the case of some books it is of little importance, but in 
the case of others it is almost essential for success. Ap- 



The Teaching of the Novel 9 

preciation of the difficulties of the book and of the limi- 
tations of his pupils will enable the teacher to make the 
wisest choice of his material. 

The second step is certainly the most important be- 
cause it is fundamental. Students often read a book 
without any adequate conception of the facts of which it 
treats. Even after honest endeavor they frequently have 
gross misconceptions and fail to see much that was in- 
tended for their observation. To keep the class alert 
and interested, and at the same time to see that the work 
has been well done, requires patience, tact, and ingenu- 
ity. Sometimes difficulties and consequent discourage- 
ment are avoided by assigning with the lesson a few 
general questions to aid the pupil in getting a connected 
idea of essential details. Sometimes the same result is 
reached by requiring the class to write in their notebooks 
brief summaries of each chapter. The recitation period 
gives the teacher an opportunity to arouse in the class a 
thorough interest in the work in hand. This can be done 
in a variety of ways. Different parts of the story may be 
told by the students; questions may be asked to test the 
understanding of certain passages, to enable the pupil to 
read between the lines, and to awaken curiosity; sup- 
plementary facts may be given by the teacher, or by 
members of the class, to throw light on certain parts of 
the story. 

For the third step, — the study of the book as a whole, — 
the following topics are suggested: 



io Studies in English 

Setting and situation, plot, characters, interpretation, 
method of narration, style, life and character of the au- 
thor, comparison with other books. Although some of 
these topics may have been taken up in connection with 
previous study, they will be found none the less valuable, 
at this more advanced stage of the work. Certain ones 
are of course more important than others. The method 
of narration and the style, for example, should always 
be treated lightly, if at all, since their consideration is 
rather for the maturer student. To reach the best re- 
sults every topic that is studied should send the pupil 
again and again to the book to find definite answers 
to the questions given and to establish the proof of his 
opinions. 

Outline for the Study of Ivanhoe 

I. Preparation 

The class will probably be able to recall from their 
previous study of Scott some interesting facts about the 
author. They will understand the book better, too, if 
they are somewhat familiar with the following topics: 

The Norman Conquest. 

Ideals of Chivalry. 

Conditions of the Church. 

The Crusades. 

Story of King Richard up to his return from the Cru- 
sades. 



The Teaching of the Novel 1 1 

II. Reading and Study- 
There are advantages in a first rapid reading of the 
book before the more careful reading and class study, but 
for pupils unused to reading long books this is too much 
to ask in the case of Ivanhoe. The essential result to 
be attained in any event is familiarity with the details 
of the story. 

III. Study of the Book as a Whole 

Setting and Situation. — When did the events of 
the story take place ? 

Locate upon some map or, better, draw a map to indi- 
cate the position of Sheffield, Ashby, York, and the other 
places connected with the story. In the opening chapters 
there are various details of the situation that are more 
important than the actual time and place, for example, 
condition of the country, and the relations of the people. 
Make a list of them. 

Compare Ivanhoe with some other novel in re- 
gard to the definiteness and importance of the set- 
ting. 

What do we know from the story of the means of 
traveling? (pp. 14-16, 192-195, etc.); of the conditions of 
the clergy? (pp. 17-20, 468-474, etc.); of the relations of 
the Normans and Saxons? of the habits of the people? 
of the feudal system ? 

Plot. — How long a time is involved from the be- 
ginning to the end of the story? 



12 Studies in English 

Are there frequent surprises, or do the events occur 
as we expect them? Illustrate. 

How does Scott arouse our interest in the development 
of an action? Take the Tournament, for example, and 
show how he arouses our expectation before he relates 
the event. 

When do you first suspect that the Palmer is a person 
disguised? How does the author keep us in suspense as 
to his identity? (pp. 60-62, 90, etc.). 

Find other instances of this device for maintaining 
our interest in the story (see p. 134). 

Point out several events that appear, upon second 
thought, to be improbable. How has Scott tried to make 
them seem probable, so that the reader's interest will 
not be lost ? 

Give an illustration of the way in which Scott 
links together the various groups of characters. If 
the author has succeeded in so combining the in- 
terests of each group that the outcome of the main 
action — the success or failure of the hero and hero- 
ine — means the success or failure of the other groups, 
then he has secured unity of plot. Is there unity of plot 
here? 

After the opening scene in the forest, the next important 
one is in the dining-room at Rotherwood. Point out in 
detail the incidents that lead to this scene. 

In the dining-room scene what suggestions are given 
for the further development of the plot ? 



The Teaching of the Novel 13 

What is the next scene of importance ? What incidents 
lead up to it ? 

There are, in all, eight or nine important scenes. Make 
a list of them, note the train of incidents that leads up 
to each, and also the germs of future development that 
each contains. 

Each of these scenes marks a climax of interest. Is 
any one so much more important than the others, that 
you can say it is the climax of the book? Are any of 
them merely episodes that might be omitted without 
making the action incomplete? 

How far does Brian de Bois-Guilbert influence the 
course of events? How far does Isaac influence them? 
Richard ? Rebecca ? 

Characters. — Who is the hero ? Why ? 

Who is the heroine ? Why ? 

Arrange the important characters (there are from 
fifteen to twenty) in three or four groups according to 
the way they seem to be associated in the development of 
the story. Which characters are historical? Which, if 
any, are intended to represent types or classes of men ? 

Are any of them to be contrasted with each other? 

Are the characters of King Richard and Prince John 
represented here as they are shown in history ? 

Note the chief traits of Cedric, Athelstane, and Gurth. 
Remember that Scott was trying to portray Saxon char- 
acter. What are the individual traits of each? What 
have they in common ? 



14 Studies in English 

What, if anything, in Rowena compels your admiration 
of her? What, if anything, is lacking to make her truly 
a heroic figure? 

How does Rebecca compare with Rowena in the latter 
particular ? 

Do the principal characters remain the same from be- 
ginning to end, or do they show development ? 

Do we become acquainted with these characters by 
what they say and do; by what the author says of them; 
or by what they say of one another ? 

Interpretation. — It is fair to suppose in every novel 
that the author has had a more or less distinct purpose 
in writing it. It may be to present in life-like pictures 
some dramatic events in history; or to paint vivid scenes 
that illustrate the spirit of an age; or to hold up ideals 
of bravery, patriotism, patience, devotion, or some other 
virtue; or to show the working out of some great truth 
or principle of life. 

What seems to you the purpose of the author in 
Ivanhoe ? What ideals of character does he hold up ? 
What service has he done for the reader of history ? 

Method of Narration. — Who tells the story? 
Would it be difficult to rearrange the plan so that Ivan- 
hoe or some other character should tell it ? Why ? 

Does the narrator speak from the standpoint of one 
who somehow or other knows all that the characters do 
and think and feel, or of one who recounts merely his 
own feelings and what he sees and hears ? 



The Teaching of the Novel I 5 

Compare Ivanhoe in this respect with The Vicar of 
Wakefield, or with some other novel. 

Style. — Does Scott attempt to reproduce the language 
of a time other than his own? Does he introduce dia- 
lect? Do the characters talk naturally as we should 
expect persons of different birth and education to talk, 
or do they talk alike ? 

Note how Scott describes an outdoor scene (p. 6); 
a man (p. 7); a scene of action (pp. 300-306). Try to 
imitate his methods in descriptions of your own. 

Note the parts of the story where the movement of 
events is very rapid (pp. 322-330), and others where 
the author introduces description or exposition (pp. 148- 
152) to retard the movement. 

Do you find the sentences natural and easy, or 
formal and hard to read? Are there many unfamiliar 
words ? 

The Life and Character of the Author. — What 
are the main facts of Scott's boyhood? his education? 
his professional career? his success as a poet? his 
change from poetry to prose ? his success as a novelist ? 
his financial distress ? his struggle to meet the demands 
of the law and of his own honor? 

Would you judge from Ivanhoe that the author was 
a man of learning ? a lover of nature ? fond of social life ? 
fond of animals? fond of children ? 

Write what you think we have reason to believe of 
Scott's character from reading this book. 



1 6 Studies in English 

Outline for the Study of the Vicar of Wakefield 

I. Preparation 

It is well to suggest to pupils who have read Ivanhoe 
and now turn to the Vicar of Wakefield that the latter 
is not a romance, but a novel of life and manners; not 
an exciting story of heroic deeds and wonderful escapes, 
but a story that paints clear pictures of simple life, quiet 
humor, and true sentiment. A few facts of Goldsmith's 
boyhood and young manhood should be dwelt on in or- 
der to show his familiarity with the country, the church, 
and with other matters treated in the story. Other topics 
of interest are the circumstances that led to the publica- 
tion of the book; the comparative newness of the novel 
in literature; eighteenth century essays, like the De 
Coverley Papers; similarity between such essays and this 
novel. 

II. Reading and Study 

To become familiar with the details of this story is 
simple, but students are likely to overlook little references 
to the customs and manners of the time, and to fail to 
use their imaginations in picturing the beautiful but 
simple scenes of country life. 

III. Study of the Book as a Whole 

Setting and Situation. — Find five or six references 
in the story that throw light on the time when the events 
are supposed to have taken place. (See customs of 



The Teaching of the Novel 17 

travel in Chapter III, of dress in IV and XII and of the 
punishment of criminals in XXX and XXXI.) Draw 
as definite a conclusion as you can from these references, 
and be prepared to defend it. 

Where is Wakefield ? Do we know whether the places 
described are English or French or Irish ? Give reasons. 

Could the scene have been laid in some other country 
or some other century without radically changing the 
story ? What alterations would be necessary ? 

What do we learn from this book about customs 
in dress? means of travelling? education? other cus- 
toms? 

Plot. — How long a time is involved from the beginning 
to the end of the story ? 

At what point did you discover the identity of Mr. 
Burchell? Could you have discovered it earlier if you 
had read more closely ? 

Are there frequent surprises, or do events occur as we 
expect them to? 

Are all the events probable? Has the author suc- 
ceeded in making them seem probable ? 

Is the plot simple or complex? How many chap- 
ters are used to introduce the story? What is the 
climax? 

Is there, as in Ivanhoe, a series of scenes closely con- 
nected? Are there incidents that might have been 
omitted as superfluous? If so, would the story have 
been more, or less, interesting without them? 
Studies in English — 2 



1 8 Studies in English 

How far does Mr. Burchell influence events? How 
far does Mr. Jenkinson influence them? Squire Thorn- 
hill? 

Characters. — Does the author make us acquainted 
with the various characters by what he says of them; 
or by what they say and do themselves; or by what they 
say of one another; or by all of these methods? Examine 
Chapters I, III, VII, and XI. 

Is the Vicar a man of intelligence? of sincerity? of 
good judgment ? Name his chief traits. Would he com- 
mand our respect if he were our neighbor ? Account for 
the fact that people have been charmed with his char- 
acter ever since the book was written. 

Do the characters seem true to life? Do they remain 
the same kind of persons from first to last, or do they 
show development? 

Contrast the Vicar and his wife; Olivia and Sophia; 
Squire Thornhill and Sir William. 

Interpretation. — The writer of a historical novel 
aims to give a vivid picture of certain dramatic events in 
history. The writer of a novel of life and manners 
usually has some ideal of life or character, more or less 
clearly defined, that he endeavors to picture. Try to 
frame a statement of some truth the Vicar's life may 
fairly be said to illustrate which seems to you the cen- 
tral idea of the story. 

Method of Narration. — Who tells the story? 

Would the effect have been essentially different if 



The Teaching of the Novel 19 

someone else had told it, perhaps Mrs. Primrose, or the 
author himself? 

Does the narrator speak from the standpoint of one 
who somehow or other knows all that the characters do 
and think and feel, or of one who recounts merely what 
he himself feels and sees and hears? Compare with 
Ivanhoe in this respect. 

To what extent does the author use dialogue ? 

Style. — Is there any attempt to use dialect? 

Do the characters talk as we should expect them to 
talk, or do they all talk like the author? 

Note a few passages that express humor; some that 
express pathos. Find a few descriptions that present 
vividly a scene of beauty. Are the sentences easy and 
natural, or formal and dignified ? 

The Life and Character of the Author. — What 
do we know of Goldsmith's childhood? his family? his 
education? his professional training? his travels? his 
friends in London ? his literary enterprises ? 

What can you find in the experiences and character 
of Dr. Primrose, of Mr. Burchell, or of George Primrose 
to suggest Goldsmith's own experiences and character, 
or those of his father ? 

W T hat characteristics of Goldsmith do you think 
you have a right to infer from this story? Give 
reasons. 

Comparison. — Does the charm of this novel lie in 
the setting? in the plot? in the characters? in the 



20 Studies in English 

style ? in the lesson it teaches ? or in all of these factors 
together? 

Compare this book, topic by topic, with Ivanhoe or 
with some other novel recently studied. *- 

Outline for the Study of Cranford 

I. Preparation 

It is important that a young student before he begins 
to study Cranford should have some idea of the kind of 
story that it is. Otherwise he is likely to be disappointed 
and to fail to appreciate its charm. Several ways are sug- 
gested for approaching the first reading. Let the teacher, 
or if possible one of the class, give an account of a small 
English village, using photographs, if they are available, 
to show some characteristic features. Let the class write 
an account of some country place that they know well 
with definite details of the houses, the people, and the 
customs. Have the best accounts read in class. Present 
to the class, or have them study from the introduction, 
the brief facts of the history of this story: who Mrs. Gas- 
kell was; her connection with Knutsford; the original 
purpose of the Cranford sketches. 

II. Reading and Study- 
Oral reading is more than usually important in a book 
like Cranford, for much of the enjoyment of the story 
comes from an appreciation of its wit and humor, and 



The Teaching of the Novel 21 

these qualities can best be brought out by oral reading. 
Some part of each day's recitation period might well be 
devoted to the reading of choice passages. Of special 
value in securing appreciation of the story is the prep- 
aration of compositions based on the students' own 
knowledge of country life. They may be descriptions, 
both real and imaginative, of some country village; ac- 
counts of small social gatherings or card parties; dia- 
logues to show the characteristics of the people, etc. 

In addition to these exercises there will, of course, 
be need for cross-questioning to make sure that the im- 
portant facts relating to the scene, the characters, and 
the events are clearly understood. Some care will be 
necessary to see that students understand the virtues as 
well as the foibles of the characters. 

III. Study of the Book as a Whole 

Setting and Situation. — Does Cranford seem like 
a real place? Give reasons for your answer. 

When are the events related supposed to have taken 
place ? 

Why does Mrs. Gaskell pay so little attention to the 
details of time and place? 

Could the scene of this story be changed to some other 
place and time without difficulty? Give reasons. Com- 
pare Cranford with some place that you know in respect 
to the poverty, aristocracy, social etiquette, employments, 
and peculiar ways of the people. 



22 Studies in English 

Plot. — What relation does Chapter I bear to the rest 
of the book ? Are there suggestions in it that make you 
expectant of what is to come in the ensuing chapters? 

What connection has Chapter II with the preceding 
chapter? with the following? 

Are Chapters III and IV connected? Are they con- 
nected with what follows? 

Group the remaining chapters to show which belong 
together. 

How many separate stories do you find with no con- 
nection except for the presence of the same characters? 

We are told that a good story has a beginning, a 
middle, and an end. What seems to be lacking in 
Cran/ord ? 

If we were to consider as complete stories the incident 
of Miss "Matty's love affair or of Poor Peter, should we 
find the same lack? 

Characters. — What are the chief motives that 
prompted the Cranford ladies to do the things that they 
did, and to do them in the way they did? 

How did Captain Brown differ from them in the 
motives that prompted his actions ? 

Show how the incident of Miss Jenkins's argument 
with Captain Brown on the relative merits of Mr. Boz 
and Dr. Johnson, illustrates one side of Miss Jenkins's 
character. What is her other side? Illustrate. Com- 
pare Miss Matty and her sister to show the strength 
and weakness of each. What was there in Miss Matty 



The Teaching of the Novel 23 

that made the other ladies help her so generously in her 
trouble ? 

What sort of woman was Mrs. Jamieson? Were her 
neighbors blind to her faults? Why did they treat her 
as they did ? Do you think they were insincere ? 

What other characters in the story have a distinct 
personality ? 

Interpretation. — What purpose do you think the 
author had in writing this book ? 

From this story, what would you judge were her ideas 
on sincerity? on the treatment of one's neighbors? on 
conformity to custom? on social rank? and on other 
matters of everyday life ? 

Method of Narration. — Who tells the story ? 

Does the narrator tell us only of the things that she 
sees and hears, or of other things as well? How is it in 
Ivanhoe ? Would the story have to be changed essentially 
if it were told by Miss Matty, Miss Pole, or some other 
of the characters ? Give your reasons. 

Has Mrs. Gaskell succeeded in avoiding the awkward- 
ness in the use of "I" so common in stories told in the 
first person? If so, how? Compare it in this respect 
with one of your own narratives in the first person. 

Point out, if you can, some ways in which the author 
has made her dialogues smooth and natural. Compare 
with one of your own. 

Style. — Note a few of the most humorous passages; 
of the most pathetic. In the humorous passages is the 



24 Studies in English 

author laughing at her characters, or laughing with 
them? Compare in this respect her treatment of Mrs. 
Jamieson, Miss Barker, and Miss Pole with Scott's 
treatment of Prior Aymer, Friar Tuck, and Athelstane. 

The Life and Character of the Author. — What 
facts do we know of Mrs. Gaskell's girlhood? her educa- 
tion? her married life? her great sorrow? her first liter- 
ary success? her acquaintance with the literary men of 
her day ? the regard of her neighbors for her ? 

Comparison. — Does the value of this book lie in its 
setting? in its plot? in its characters? in its style? in 
its teaching? or in all of these factors? 

Compare Cranford in respect to each of the above 
topics with the other novels that you have studied. 

Outline for the Study of Silas Marner 

I. Preparation 

A few facts about George Eliot's early life will help 
to show how she could write as she did about country 
people — their ideas, habits, and manner of life. 

II. Reading and Study 

A rapid reading, followed by a second and more care- 
ful one, is quite practicable with so short and interesting 
a story as Silas Marner. It is especially to be recom- 
mended for this book, since the chapters are so full of 
suggestions of character, of customs of a by-gone time, 



The Teaching of the Novel 25 

and of hints for the further development of the story, 
that it is difficult for a young reader, urged on by his 
interest in the plot, to stop long enough to grasp all the 
essential features. So many important lessons for the 
beginner may be drawn from the structure of this book, 
from its teaching, and from its representation of life, that 
it especially repays thorough study. 

III. Study of the Book as a Whole 

Setting and Situation. — What means does the 
author take in Chapters I and III to acquaint us with 
the time of the story? How definitely can you fix it? 
(See p. 47, 1. 22.) 

What sort of place was Lantern Yard ? Describe the 
people who worshiped there. What was their social 
life? Why was their church called a chapel? 

Compare this place, where Silas first lived, with Rav- 
eloe in respect to location, people, religious beliefs, 
wealth, social life, etc. 

Although Raveloe is not on the map, in what part of 
England is it supposed to be? 

Do the descriptions, for example, of the company at 
the Rainbow or of the party at the Red House, seem like 
caricatures or like pictures from real life ? Give reasons. 

Has the author been true to the life of a certain place 
and time? (See Introduction, p. 34.) Is the setting 
closely interwoven with the story, or could the scene have 
been changed without loss of interest to New England, 



26 Studies in English 

or to some other place, fifty or a hundred years later? 
Give reasons. 

Plot. — Make a list of the most important scenes 
(seven or eight in all), note the train of incidents that 
leads to each, and the suggestions in each that prepare 
us for the further development of the story. Show that 
there are two distinct stories separately introduced, but 
finally woven together. 

Note in what places these distinct stories touch each 
other and how they are knitted together. In the arrange- 
ment of the scenes is there any attempt at contrast? 
(See Introduction, p. 40.) Are any of them merely epi- 
sodes that might be omitted without loss to the story? 
Most of the scenes mark a climax. Is there any one 
scene so interesting and important by reason of the char- 
acters brought together and the facts unfolded that we 
may call it the climax of the story? 

Is there unity in the plot ? 

What use is made of Maimer's cataleptic fits in the 
development of the plot ? 

How are we prepared for the explanation of the 
mystery of the lost gold? (See p. 94, 11. 24-29; p. 97, 
11. 17-20; p. 241, 1. 29; p. 242, 1. 3; p. 268, 11. 3-21.) 

Why does the author cause Maimer to go back to 
Lantern Yard and fail to learn anything of his former 
friends and the results of their injustice ? 

How many of the principal characters are brought 
into the last chapter ? 



The Teaching of the Novel 27 

Is what is said of them, and what they say themselves, 
characteristic ? 

Has the scene any beauty in itself? 

Sum up the features that make it a fitting con- 
clusion. 

Characters. — From what classes of society does 
the author take her characters? Is she equally success- 
ful in dealing with the different classes ? 

Contrast Nancy and Priscilla. Which is the more 
interesting ? Why ? 

Trace the changes that take place in the characters 
of Silas Marner and Godfrey Cass. 

Do the other characters change too, or are they 
essentially the same throughout the story ? 

Do you think Marner's sudden loss of faith seems 
probable in view of his religious devotion ? 

What is the significance of the Sally Oates incident 
(p. 65) in Marner's life? 

What effect did the gold have upon him? Contrast 
this with the influence of Eppie. 

In the development of Marner's character, what is 
the significance of the scene at the Rainbow when Marner 
tells his neighbors of the loss of his gold? 

What sort of man was Godfrey at the beginning of 
the story? Was there any excuse for him in his lack 
of manliness? State the struggle going on within him 
the night before he told his father about taking Fowler's 
money. What was the effect on him of telling only a 



28 Studies in English 

little of his secret? Why did he at last tell Nancy all? 
What was his punishment? 

Interpretation. — What idea does the development 
of Silas Marner's character illustrate? 

Does the author's devotion to this idea mar at all your 
interest in the book as a story ? 

What truth does Godfrey Cass's life illustrate ? 

What satire do you find on people or customs ? 

Method of Narration. — Who tells the story? 

Could the author have made one of the characters 
tell the story just as well ? Give reasons. 

Does the narrator write as though in some mysterious 
way she knew all about the characters, or does she write 
only what she might have seen and heard ? 

To what extent does she use dialogue ? 

How do we become acquainted with the char- 
acters ? 

Find several passages where the author interrupts 
the flow of her story to make explanations for our bene- 
fit (for example, pp. ioo-ioi). 

Style. — Does the author use the language of her own 
time? 

To what extent does she make use of dialect? 

Is the language of the characters consistent with the 
author's description of them? Note the difference in 
choice of words and grace of expression when the author 
speaks in her own person, and when she speaks through 
the mouth of one of her characters. 



The Teaching of the Novel 29 

Find passages that express humor (pp. 201-203), 
pathos (pp. 67-69), satire (pp. 184-185). 

The Life and Character of the Author. — What 
do we know of George Eliot's early home? education? 
religious experiences ? life while manager of the house at 
Griff ? life at Coventry ? early literary work ? first attempt 
at novel writing? success as a novelist? 

Would you judge from this book that she was fond 
of social life? simple country life? animals? children? 
books ? Give your reasons. 

How do you suppose she knew how to describe the 
horse sale ? the evening at the Rainbow ? 

Comparison. — Is our interest in this book chiefly in 
the setting ? in the plot ? in the characters ? in the idea ? 
in the style? or in all of these factors equally? 

Compare Silas Marner in these five particulars with 
Ivanhoe and with The Vicar oj Wakefield. 



II. THE TEACHING OF NARRATIVE 
POETRY 

Much has been said, and said with force, about the 
impossibility of teaching literature. But while many 
believe that certain kinds of literature can be taught 
with marked success, they are apt to feel the force of 
the above contention when they attempt to teach poetry. 

It is, of course, comparatively easy to make clear the 
main idea of a poem, the facts of the plot, the details of 
the setting, and the characteristics of the actors; but the 
score of artistic touches that make the poem great cannot 
be taught, any more than can the beauty of a flower. 
To be sure, some pupils may appreciate these touches, 
and appreciate them because of the instruction they re- 
ceive, but, on the other hand, others never will in spite 
of all aid and encouragement. It should not for a mo- 
ment be forgotten, however, that the matters that can 
be taught are by no means inconsiderable. The language 
must often be explained; the thought, buried in involved 
sentences, must be simplified; and the unfamiliar or ab- 
stract ideas must be illuminated by illustration. There 
are doubtless some ideas in poetry that cannot be ex- 
plained in words, but most of the obstacles that pupils 

3° 



The Teaching of Narrative Poetry 31 

meet with may be smoothed away, if only the difficulty 
is perceived. 

The task of the teacher is, first, to put himself and 
his class into the atmosphere of the poem. Then the 
events of the narrative, the idea of the lyric, the charac- 
teristics of the setting, and the individualities of the 
various actors must be clearly brought out. Studies 
must be suggested that will make the pupil read over 
and think over, again and again, the words of the poet. 
Lastly, by reading aloud and by devices which may 
defy analysis, but which will suggest themselves to 
teachers who, enthusiastic themselves, desire to inspire 
others, the class must be made to feel the truth and 
beauty of the poem. 

Narrative Poetry 

A narrative in verse is not essentially different from 
a narrative in prose. The content is still the important 
feature, but form demands far more attention than it 
does in prose. More care must be given to the first and 
second readings of a poem than of a novel, since certain 
difficulties of form and language cannot so readily be 
left to the student himself to master. 

The comprehensive study will follow the same lines 
as in the prose narrative; — setting, plot, characters, 
central idea, and form. Before beginning certain poems, 
the teacher should bring up briefly some preliminary 



32 Studies in English 

topics for the purpose of interesting the class in what 
they are about to study. A half-hour's talk at this point 
may be of the greatest value, if it is strictly a prepara- 
tion for the work in hand. It is a mistaken kindness to 
tell pupils, in advance, the story of a poem, but what- 
ever will give them more interest in beginning the work, 
or a better understanding as they proceed, is legitimate 
and desirable. 

Outline for the Study of Narrative Poetry 

I. Preparation 

Such facts must be presented as will make the first 
reading intelligible, and put the class into the atmosphere 
of the poem. 

II. A Rapid Reading 

This reading of the poem must be accompanied by 
general suggestive questions and explanations. A part 
of the first reading should probably be assigned for 
home work, but the more important passages, at least, 
should be read in class by the teacher, or by some good 
reader among the pupils. 

III. A Careful Reading 

The main purpose of this reading is to gain an under- 
standing of the poem. It will include a thorough but 
not exhaustive study of its details; the best passages may 
be read aloud, and choice selections committed to 



The Teaching of Narrative Poetry 33 

memory. Then should follow a brief practical study of 
meter, with class discussions to interpret the thought of 
the author. 

IV. Study of the Poem as a Whole 

A. Content 

1. Setting 

2. Plot 

3. Characters 

4. Central idea 

5. Method of narration 

B. Form 

1. Structure 

2. Meter 

3. Style 

C. The Life and Character of the Author 

Outline for the Study of the Lady of the Lake 

I. Preparation 

The introductory work that the teacher is required 
to do for his class depends upon the conditions: the age 
of the pupils, their previous reading, etc. The following 
topics are suggested as suitable for the double purpose 
that we have in mind: arousing the interest of the class, 
and supplying necessary information. 

1. A brief account of Scott's ancestry to show his 
connection with the Highland clans. 
Studies in English — 3 



34 Studies in English 

2. Some facts of Scott's boyhood to show his enthu- 
siasm for out-door life, for deeds of daring, for old Scotch 
legends. 

3. The story that Lockhart tells in his life of Scott 1 
(p. 266) , of how tired soldiers were aroused by a recital 
of The Battle of Beat an Diiine. 

4. A short account of the Scottish lake region, with 
map. 

5. A very few facts concerning James V and the 
Douglas family. 

II. A Rapid Beading 

This is for the purpose of getting the main facts of 
the story. It may be done partly by the teacher 2 and 
partly by the class out of school. A short time in every 
recitation period should be taken for a running fire of 
questions to make sure that the class understand the 
plot. The questions ought to be simple matters of fact 
which a first reading should reveal. 

III. A Careful Reading 

The class should now be ready to enjoy a second 
reading with whatever study of words, figures of speech, 
meter, etc., is necessary together with the memorizing 
of a considerable amount. The following questions are 

1 The Life of Sir Walter Scott, by J. G. Lockhart, London, 1898. 

2 See suggestions for teaching "The Lay of the Last Min- 
strel," in The Teaching of English, by Percival Chubb, pp. 161- 
166. 



The Teaching of Narrative Poetry 35 

intended to suggest the kind of work that ought to be 
done with young pupils: 

Canto I, line 47. Explain " tainted gale." 

" " " 54 -0 3- To which of the senses 

does Scott appeal? 

3. " " " 54-63. Point out the words that 

are most effective. 

4. " " " 69. What is the hurricane? 

5. " " " 1 14-130. To what sense does Scott 

appeal ? 
" " " 1 14-130. How does he appeal here 

to our sympathy? 
" " " 1 31-15 1. How does he make the 

escape of the stag a 
surprise ? 
It is easy to select many good narrative and de- 
scriptive topics for oral and written composition, and 
here, as always, frequent writing is an aid to the un- 
derstanding of the work of literature under discussion, 
as well as to the enlargement of the power of expres- 
sion. 

The study of meter ought to offer little difficulty if 
only a simple, practical knowledge is required, and yet 
a large number of pupils find it confusing. It may 
never have occurred to some of them that the great 
difference in form between prose and poetry is that 
in the one case the arrangement of accented and un- 
accented syllables is irregular, and in the other regular. 



36 Studies in English 

If they are directed to mark a few passages after some 
definite form, as 



The stag at eve had drunk his fill 
they will easily learn the normal line. They will learn, 
too, that there are a few common variations. Having 
learned these, and the names of different feet and meters, 
the whole subject will seem, as it is, a very simple matter. 

IV. Study of the Poem as a Whole 

Setting. — When and where did the events of this story 
take place ? 

Are we interested in the descriptions because they are 
beautiful, or because of historical associations ? 

What caused the trouble between the Highlanders and 
the Lowlanders ? 

What do you learn from the poem about Highland hos- 
pitality? (See Canto I, lines 576-601; II, 585-604, etc.) 
Customs of dress? (I, 362-372; II, 534-539; HI, 478- 
499, etc.) Devotion to leaders ? (111,410-451; IV, 397- 
400, etc.) Superstition of the people? (Ill, 123-178; 

IV, 79-99-) 

What foundation in fact was there for James's treat- 
ment of Douglas (V, 609-631), and for Ellen's visit to 
court? (VI.) (See Introduction to The Lady of the Lake, 
pp. 27-31.) 

Plot. — How is the story introduced? 

At the end of Canto I what do we think the story is 
to be? 



The Teaching of Narrative Poetry 37 

What is brought into Canto II to complicate the plot 
or to make it less simple ? 

How is the main action of Canto III foreshadowed 
in Canto II? 

What is the purpose of Canto III ? Would the story 
be complete without it? 

How does the prophecy related in the early part of 
Canto IV affect our interest in what follows? 

What is the purpose of the Blanche of Devan incident ? 

What is the purpose of Canto IV in the development 
of the story ? 

What is the purpose of the dialogue in the early part 
of Canto V? of the games in the latter part? Show 
how Canto VI is a fitting conclusion. 

Note in how many of the cantos the main action is 
told in a single scene vividly described. 

How does the author retard the movement, keep the 
story from going too fast, in the most exciting parts ? 

What is the purpose of the Minstrel in the development 
of the story ? 

In what cases does Scott keep the identity of characters 
unknown to the reader for a time? for what purpose? 

Are we more interested in the fortunes of Roderick 
or in those of Ellen ? 

Characters. — What characters are historical ? 

Are the others true to life? Are they too good, or too 
bad, too brave, or too foolish ? 

Is there a hero? a heroine? 



38 Studies in English 

Compare Malcolm and Roderick. Which makes the 
stronger appeal to your interest ? Why ? 

How did the clansmen regard Roderick? Why? 
Name some of his virtues. 

In the struggle between James and Roderick, which 
one do you wish to be successful ? Why ? 

What qualities do you admire in Ellen ? 

Interpretation. — Was Scott's purpose merely to tell 
an interesting story, or to present a period of history, or 
to teach some ethical truth, or to present high ideals of 
character, or all of these combined ? Give your reasons 
carefully. 

Method of Narration. — Who tells the story ? 

Suggest some of the changes that would have been 
necessary if the author had made Ellen or Douglas tell 
it. 

By what device does Scott tell us the story of the 
battle? 

How does he acquaint us with the characters : by 
what he says, by what they say, or by what others 
say of them? 

Form. — What is a canto ? Is it merely a form division, 
or is it also a thought division ? 

Can you discover any plan in the division of the canto 
into stanzas? 

Mark the scansion of stanza 34, Canto II. 

What is the meter of the normal line ? 

What variations are there in the kind of feet ? 



The Teaching of Narrative Poetry 39 

Mark the scansion of stanzas 2 and 3 of the ballad in 
Canto IV. 

What is the meter of lines 1 and 3 ? of lines 2 and 4 ? 
what variations are there in the kind of feet ? 

Find the meter of one or two of the songs. 

Does the author use language of a time other than his 
own? 

Does he use dialect? Compare in this respect with 
some of his Scotch stories in prose. 

Do the characters all talk alike, or as we should expect 
of persons differing in birth and education ? 

Does Scott use simple or unfamiliar language ? 

Find a vivid picture (for example, Canto I, stanzas 
11, 12), and examine the language to see what kind of 
words are most effective: specific or general, concrete or 
abstract, figurative or literal. 

Do the same with some passage that presents an im- 
pression of sounds (as in Canto I, stanza 3). 

Can you see any difference between this poem and a 
prose story in language, thought, beauty of description, 
or any other respect except metrical form ? 

The Life and Character of the Author. — Was 
Scott a Highlander or a Lowlander ? 

What do we know of his father and mother? of his 
earlier ancestors? of his childhood? of his boyhood 
interests? of his education and training? What profes- 
sion did he enter? How successful was he in it? What 
was his reputation ? What was his first literary venture ? 



40 Studies in English 

Name his great poems in the order in which they ap- 
peared. Give some idea of their success. Why did he 
stop writing poetry? Compare his success as a novelist 
with his success as a poet. 

How did he change his manner of living as he became 
increasingly successful ? 

What misfortune overtook him ? How did he meet it ? 

Give a picture of his home life. 

What are the chief traits of his character ? 

Outline for the Study of the Ancient Mariner 

I. Preparation 

This is a wonderful poem, which makes a profound 
impression on an imaginative mind; but it is most dim- 
cult to teach. This is because of its very simplicity. The 
teacher must try to put himself into the attitude of a child 
and read the poem several times until the vividness of 
the pictures and the beauty of the language have capti- 
vated his imagination. Then he must attempt to put 
his pupils into the same frame of mind. At this point 
it is helpful to discuss the differences between prose and 
poetry, the beauty or horror of a vivid dream, and the 
real truth that often underlies a fairy story or a dream 
story. Next, the translation of the Latin quotation that 
is prefixed to the poem may be read and discussed sim- 
ply, especially the first sentence. The teacher must try 
to secure from his class, if possible, what Coleridge calls 



The Teaching of Narrative Poetry 41 

"that willing suspension of disbelief which constitutes 
poetic faith." 

II. Reading and Study 
After this very important preparation and a rapid 
reading of the poem, as in the case of The Lady of the 
Lake, the teacher will find it profitable to read the poem 
again rather slowly with the class in order to bring out the 
meaning of words, the clearness of the pictures, the simple 
train of incidents, the rapidity of the narrative, the re- 
markable development of the Mariner's character, and 
the simple beauty of his faith and love. 

III. Study of the Poem as a Whole 

Setting. — To whom and under what circumstances 
was the story told ? 

How do music, and feasting, and ceremony serve to set 
off the story ? 

Trace the course of the Mariner's voyage. 

Can you form any idea of the time when he lived, 
or of the length of time that he was absent on his 
voyage ? 

Why was not Coleridge more definite in regard to 
time and place? 

"The poem is a story told by pictures." Name the 
most important ones. Note the details that make them 
clear. In what respects are they unusual ? 

Plot. — Name the incidents that lead to the killing of 
the albatross; those that lead from the killing of the alba- 



42 Studies in English 

tross to the blessing of the water snakes; and those that 
lead from this point to the end. 

Show how one incident leads to another by the law of 
cause and effect. 

Show how the killing of the albatross and the blessing 
of the water snakes are the most important events of all. 

How does the author impress us with the importance 
of the Mariner's crime? 

Which events in the story are caused by the Mariner ? 
which by the supernatural beings ? 

Show how the author makes improbable events, like 
the coming of the spectre-bark, seem probable. 

Characters. — Show why the Mariner is the only im- 
portant human character. 

In what respect are the supernatural characters im- 
portant ? 

How are they like mortals ? how unlike ? 

Describe the Mariner's appearance. Trace care- 
fully the changes in the development of his character. 

What do we know of his companions ? Why were they 
punished ? 

Interpretation. — What idea or truth does the author 
bring out in the poem ? 

Show how the Mariner in his development illustrates it. 

Method of Narration. — Who begins the narrative? 
Who else soon takes it up? What part does each tell? 
Does the Mariner tell anything beyond what he himself 
saw or heard ? 



The Teaching of Narrative Poetry 43 

Compare this narrative with some other with respect 
to the rapidity with which the story moves. 

Note some places where the movement is most rapid, 
and try to discover how the poet makes it so. 

Form. — Why do you suppose this poem is divided into 
seven parts ? 

Do the stanzas correspond to thought divisions as they 
do in The Lady of the Lake ? 

What is a ballad? Select three stanzas in different 
parts of the poem and mark the scansion. Compare 
these to see whether they are alike, and, if not, what 
variations there are. 

Compare this poem with some other ballad, for ex- 
ample, " Alice Brand " {The Lady of the Lake, Canto IV), 
to find what is the normal ballad stanza. 

Style. — Did Coleridge use language of a time other 
than his own? Select several words that he would not 
have, used in writing a letter. Do they seem appropriate 
here ? Why ? Are the sentences simple or involved ? 

Are the words common or unusual? Are the most 
effective words concrete or abstract? figurative or literal ? 
Find examples of alliteration, of onomatopoeia, of all 
the figures of speech that you can find here. 

Do the figures of speech make the idea clearer? 
more beautiful? more impressive? Make a list of five 
or six of the most effective scenes and decide whether 
they are effective because of their beauty, their pathos, 
their horror, or for some other reason. 



44 Studies in English 

The Life and Character of the Author. — What 
do we know of Coleridge's childhood? his school days? 
his college experiences? his struggles to get on in 
the world? his radical opinions? his acquaintance 
with Wordsworth? with Southey? his success as a 
poet? his other literary work? his domestic life? his 
decline ? 

Tell how this poem came to be written. What was 
Wordsworth's part? In what volume was it first pub- 
lished? What epoch in the history of poetry does this 
volume mark? 

What were the strong features in Coleridge's character? 

What was lacking? What characteristics of the man 
may you infer from this poem ? 

Outline for the Study of the Idylls of the King 

I. Preparation 

The following topics are more or less important for 
the pupil to understand before he begins his study of the 
poems: the meaning of idyll as Tennyson uses it; the 
facts about King Arthur (what we actually know and 
what we have reason to believe); the period of history 
in general covered by his reign; condition of Britain at 
this time; her enemies within and without; the sources 
of the large number of legends about Arthur; beginning 
of Tennyson's work on this subject; the growth of his 
plan. 



The Teaching of Narrative Poetry 45 

II. A Rapid Reading 

It is desirable that the class be familiar with all of the 
Idylls. Such familiarity will give the student not only a 
greater interest in the ones especially assigned for study, 
but also a larger grasp of their meaning. If the condi- 
tions make it impracticable for the teacher to assign all 
of the poems to the entire class, the best alternative will 
be to assign each of the poems to some members of the 
class for special study. Time enough should be taken in 
the recitation periods for these students to report some- 
what fully on the special Idylls they have been studying, 
so that the essential facts of the entire series may be in 
possession of the class. 

Questions like the following will test a general knowl- 
edge of these facts: 

Who was King Arthur ? 

What struggles did he have to make before he became 
undisputed king ? 

What were his ideals? Who were his chief knights? 
What were their characters? What were their tasks? 
(Specify several.) What great danger to the success of 
the Round Table soon arose? (See Marriage of Geraint, 
11. 24-28.) What second danger arose later? (The 
Holy Grail, 11. 203-327.) 

Trace briefly the effect of each. Did Guinevere truly re- 
pent ? What were her feelings toward Arthur at the last ? 

Who were opponents in the last great battle? What 
was the result ? 



46 Studies in English 

III. The Meaning of the Idylls 

What explanation does the poet give in the Dedication 
to the Queen at the end of the Idylls ? (11. 36-44). 

In the struggle of " Sense at war with Soul" what part 
does Arthur play ? What is the position of Guinevere ? 
of Lancelot? Who represent the forces altogether 
evil ? 

What is the result of the war in respect to the Round 
Table? to Guinevere and Lancelot? to the king? Was 
Arthur victor or vanquished? 

How is each separate Idyll related to the general 
development of the story ? 

What is the allegorical significance of Arthur's mirac- 
ulous birth ? of his training by Merlin ? of the Lady of 
the Lake ? of the three Queens ? of Excalibur ? 

What tasks of the soul are symbolized in Arthur's 
wars against the Heathen? against the lords and barons 
of his own realm ? 

How does the search for the Holy Grail symbolize a 
danger to the soul ? 

IV. General Questions 

Do these Idylls form a grand epic ? 

Are the places of these poems, Camelot, Caerleon, 
Glastonbury, etc., to be identified with known places? 

Are the descriptions of scenery such that we think of 
the places as real, or as places in fairyland? Do the 
characters seem like real people ? 



The Teaching of Narrative Poetry 47 

Is there unity in the story as a whole ? 

Are the episodes closely connected with the main 
action? 

Each of the three Idylls especially chosen for reading 
should be studied as a story complete in itself, and as 
part of the series taken as a whole. 

Gareth and Lynette 

Setting. — Where is the scene of the story? In what 
season of the year do the events take place? How does 
the season fit the story? In what condition is the court 
represented? (11. 305-309). 

How do the cases brought before Arthur, and his dis- 
position of them, show the character of his rule ? 

How clear an idea do you get of the country between 
Camelot and Castle Perilous? of Castle Perilous? Of 
what importance are these descriptions? 

Plot. — How does Tennyson introduce the story? 

How is Gareth prepared for his work as a knight ? 

Give the chain of incidents that lead from Gareth's 
leaving home to his victory at Castle Perilous. How 
do the several contests compare with one another in 
difficulty ? 

Is there unity in the plot? Is it more consistent with 
the story as Tennyson tells it to have Gareth marry 
Lyonors, as Malory says? Why? 

Characters. — How is the character of Gareth made 



48 Studies in English 

clear to us at the outset ? How, if at all, is his character 
developed by his service as a scullion ? 

In what respects does he show himself different from 
the other scullions ? 

Would you have respected him any more if he had re- 
sented the taunts of Kay and the insults of Lynette? 
Why? 

What impression of Lynette do you form from her 
interview with the king ? 

In her language is she coarse and rude, or only petu- 
lant and thoughtless ? 

After she is won by Gareth does she show any fineness 
of nature ? 

Describe the characters of Lot, Bellicent, Gawain, 
and Modred. 

Interpretation. — What period of a man's life may 
Gareth be intended to typify ? 

What is the allegorical meaning of the gateway to 
the city of Camelot and of Merlin's description of the 
building of the city ? 

In Gareth's contests with the four knights for the 
possession of Lyonors' castle, what does each in turn 
typify? What does the poet mean by making the first 
three contests increasingly difficult ? by the terror which 
the fourth knight inspires ? by the easy victory over him ? 
What does Lynette represent in her impulsive and per- 
sistent opposition to Gareth? 

What does Gareth represent in his constant devotion to 



The Teaching of Narrative Poetry 49 

high ideals ? What truth is illustrated by Gareth's over- 
coming the petulant opposition of Lynette ? 

Connect the teaching of this poem with the thought 
of the whole series. 

Form. — What is the meter of the poem? What are 
the principal variations from the normal line in the num- 
ber of syllables and the position of accents or stresses? 
Explain and illustrate cozsura, end-stopt line, run-on line. 
What variations do you find in the position of the pauses ? 
What is the effect of the variations on the music of the 
verse ? 

Base your study of meter on several passages (for 
example, 11. 100-150, 520-550, 1350-1394). 

Compare the language used by Bellicent and Gareth 
in their dialogue (11. 34-168), with descriptive passages 
(like 184-193, 209-226, 376-427, 650-685, and 883-900). 

What differences do you note in the poet's choice of 
words ? 

Find passages that present a vivid picture, a vigorous 
action, simple narrative, true sentiment. 

Lancelot and Elaine 

Setting. — Where did the King keep court at the time 
of this story ? 

Where did Elaine live? 

Where was the tournament held? What do we know 
of the relative positions of these places? 

Studies in English — 4 



50 Studies in English 

At what season of the year do the events of the story 
take place ? How does the season fit the story ? Do the 
places seem real ? 

Plot. — How is the story introduced? Compare with 
the introduction of the previous Idyll. 

What was the occasion for the tournament? 

What led Lancelot to Astolat ? What caused Elaine's 
passion for him? Why did he wear her favor? What 
were the consequences of his wearing it ? 

Elaine's love for Lancelot led her to what different 
acts? What did Lancelot's devotion to Guinevere lead 
him to do? 

At what dramatic moment did Elaine's body reach 
Camelot? How did the event affect the King? Guin- 
evere ? Lancelot ? 

Characters. — From what Arthur says and does, do 
you find any change in him since his appearance in 
Gareth and Lynette ? 

Do Lancelot and Guinevere, as they talk of him, re- 
veal any real weakness in his character ? 

What personal characteristics does Guinevere show 
in the opening interview? What at the conclusion of 
the story? 

How is Lancelot pictured in the opening interview? 
in the night that he spends at Astolat? How does he 
appear when he defends himself after Elaine's letter has 
been read? What, on the whole, is our feeling for him? 
Show how his life was a tragedy. 



The Teaching of Narrative Poetry 51 

Describe Elaine as we first see her. Does it seem 
consistent with her retiring, almost timid, nature to 
press Lancelot to wear her favor and later to confess her 
love to him? How do you account for her doing it? 
What is the charm of her character ? 

Contrast Elaine and Guinevere. 

Interpretation. — Compare the picture of the court 
that we get here with the one that is drawn in Gareth 
and Lynette. 

What stage in the history of the Round Table does 
this story mark? W T hat is the central idea of the 
poem? 

Form. — Compare this Idyll with Gareth and Lynette 
with reference to meter, and to choice of language. 

The Passing of Arthur 

Setting. — Where is the scene of the story laid? At 
what season of the year? How does the season fit the 
story? Do the descriptive passages help you to imagine 
the places? Illustrate. Do they help you to feel the 
situations? Illustrate. Of what importance are place 
and time here ? 

Plot. — Make a simple outline to show the chain of 
incidents that form the plot. Compare this Idyll, in re- 
spect to reality, with the other two you have studied. 

Characters. — Is Arthur's character essentially the 
same as it appears in the other Idylls we have studied? 



52 Studies in English 

What is his mood at the beginning? Does he talk like 
a vanquished man? 

Interpretation. — Do we think of Arthur here as 
King of Britain, or as a figure in an allegory ? Why ? 

What is indicated by the fact that Arthur did not die, 
but was taken away by the three Queens ? 

What is indicated by the uncertainty of Bedivere and 
even of Arthur himself as to where he was going and 
whether he would ever return ? 

Show how the "war between Sense and Soul" is man- 
ifest in the war between the King and his enemies; in 
the struggle of Bedivere between obedience and dis- 
obedience; and in the conversation of Arthur and Bedi- 
vere as the barge is coming. 

Form. — Compare the meter of the part of the poem 
published in 1842 (11. 170-440), with that of Gareth and 
Lynette published in 1872, to note the difference in the 
poet's variations from the normal line, and, in general, 
the difference in effect. 

Compare this Idyll with the other two in respect to 
language, beauty of description, etc. Study especially 
such passages as 11. 95-117, 129-135, 349-360. Find 
others worthy to be learned for their sentiment or beauty 
of description. 

The Lite and Character of the Author. — What 
do we know of Tennyson's parentage? his boyhood? 
his early love of poetry? his favorite poets? his college 
life? his employment after leaving college? his early 



The Teaching of Narrative Poetry 53 

volumes of poems? the importance of his 1842 volume? 
the significance to him of the death of Arthur Henry 
Hallam? the three principal events of his life in 1850? his 
great and continued popularity? the honors conferred 
upon him ? his two estates ? his peaceful death ? 

Did Tennyson ever pursue any profession other than 
that of a poet ? Did he write prose literature ? Did he 
hold public office? Compare him with other famous 
poets in each of these three particulars. 

Point out, by reference to his best known poems, Ten- 
nyson's three successive impulses: aesthetic, personal and 
religious, social and patriotic. (See Introduction to Idylls 
of the King pp. n-15.) Show how all these are blended 
together in the Idylls of the King. Was he equally suc- 
cessful in all the kinds of poetry that he undertook? 
Discriminate. 

What were some of his favorite pursuits ? 

What three successive attempts did Tennyson make 
with the Arthurian legends? in what periods of his 
poetic development? 



III. THE TEACHING OF LYRIC POETRY 

The lyric is a poem which voices the personal feeling, 
sentiment, or passion of the poet. The poet's feelings 
are the feelings of human nature, but purified and in- 
tensified by his genius. So they are as varied as human 
nature, but nobler and more beautiful. Lyric poetry, 
then, appeals to our various moods and often expresses 
that of which we have been vaguely conscious in our- 
selves. Sometimes, too, it inspires us to nobler and purer 
feeling and to higher conceptions of life. 

The wise teacher seeks to awaken the interest and 
arouse the imagination of his pupils. He tries to bring 
them into the right mood, but avoids putting himself 
between them and the poet. He must see that they 
understand the poet's thought, but the appeal to the 
feelings he will best leave to the poet himself. 

Repeated readings and the memorizing of important 
passages are nowhere so important as in the study of 
lyric poetry. To make repeated readings useful, how- 
ever, the teacher must convince the class by questions, or 
the introduction of discussion, that they have overlooked 
some message of the poet's. A general plan of study 
might include, first, wise preparatory work on the part 

54 



The Teaching of Lyric Poetry $$ 

of the teacher to bring the class into the atmosphere of 
the poem; second, a mastery of the details of the poem; 
third, a study of the content of the poem as a whole 
and in parts; fourth, a study of form and structure; 
fifth, a study of the poem as an interpretation of the poet. 

Outline for the Study of L'Allegro and II 
Penseroso 

I. Preparation 

A brief discussion of the meaning of lyric poetry will 
be helpful, with discriminations between it and other 
forms of verse. 

The class will be put in the right attitude for study by 
an interesting account of Milton's life up to 1632; his 
home influences; his education; his Puritan ideas; the 
difference between Puritanism in Milton's youth and 
Puritanism in the days of the Commonwealth; and, 
especially, by a vivid picture of the surroundings of the 
poet at Horton. 

II. Reading and Study 
The first reading may be utilized to get a general idea 
of the poem, and to mark the thought divisions. Other 
readings will make the student familiar with the details 
of description, the allusions, the difficult words and con- 
structions, the varieties of meter and rhyme. A com- 
parison, point by point, between the two poems will be 



56 



Studies in English 



helpful. Such a one might be written in the notebooks 
after the plan suggested by Mr. Chubb in The Teach- 
ing of English, p. 298. 



Lines 



1-10 

11-46 

47-15° 

42 
44 

60 



L 'Allegro 



Dismissal — of Melancholy 
Invitation to Mirth 
Progress of day of social 
delights 

(a) Lark's Reveille 

(b) " Dappled Dawn," 
cock, hounds, etc. 

(c) Sunrise 

(d) Sounds of labor 



Lines 



n-54 
55-174 

56 
67 

74 



// Penseroso 

of deluding joys 
to Melancholy 
of night of solitary 
joys 
(a) Evening 
\b) Nightingale's 

even-song 
(c) Moonrise 
{d) Curfew 



III. Study of the Poem as a Whole 

A comprehensive study will naturally follow the de- 
tailed study and may, to a certain extent, be a summary 
of the work already done. 

Content. — Contrast the two speakers in respect to 
their choice of companions; descriptions of morning 
and evening; their attitude toward country life; their 
recreations and employments in the daytime and in the 
evening; and their tastes in music, worship, and the 
theater. 

Must we suppose that these poems express conflicting 
views of different men, or may they represent views of 
the same man in different moods ? 

State in a single sentence the main idea of each poem. 

Form. — Indicate the meter of the normal line, or 



The Teaching of Lyric Poetry 57 

rather of the two types of lines most frequently used. 
What is the difference in effect between these two 
types ? 

What are the principal variations in the position of 
accented syllables? in the number of syllables? in the 
kind of rhyme? 

Do you like these poems because of their beauty of 
sentiment? beauty of figurative expression? beauty of 
description? some other form of beauty? or because of 
all of these? Quote what seems to you most beau- 
tiful. 

Is there anything notable in the choice of words? in 
their arrangement ? 

Do you find any passages where words have been 
chosen because their sound corresponds to the sense? 

The Lite and Character of the Author. — (See 
outline for the study of Lycidas, p. 59.) 

Outline for the Study of Lycidas 

I. Preparation 

This poem is made somewhat difficult by reason of 
the formal and conventional terms of pastoral poetry. 
Therefore, in the preparatory work, the teacher should 
explain these terms; and should dwell on the circum- 
stances that called forth the poem. The history of the 
times should be touched upon sufficiently to make clear 
the meaning of the two digressions in the poem. 



58 Studies in English 

II. Reading and Study 

The first reading should enable the student to trace 
the line of thought; to mark the digressions; and to un- 
derstand the general plan of the poem. 

Other readings will include a careful study of the 
language, the meaning of the allusions, and, in detail, 
the poet's thought. 

III. Study of the Poem as a Whole 

A comprehensive study of the poem as a whole should 
be profitable after the work indicated in II. 

Content. — What is the substance of the poet's lament 
for his friend? As we read the poem do we think more 
of him or of Milton ? How do you account for this ? 

What were Milton's relations to King? Were they 
intimate, personal friends? 

Put into a sentence the substance of each digression. 

In what part of the poem do we find that the allusions 
to the supernatural are classic and pagan? in what part, 
Christian? What corresponding difference is there in 
the tone of the poem ? 

Form. — What relation do the first two paragraphs 
bear to the rest ? 

Where is the pastoral element first introduced ? 

At what places does Milton drop the pastoral 
form ? 

What is the effect of a change of person in the last 
eight lines? 



The Teaching of Lyric Poetry 59 

Has the poem unity? Give reasons. How would the 
poet have justified his digressions ? 

How many syllables do you find as a rule in each line ? 
How are the lines rhymed? Find several blank verse 
lines. What variations from the normal line do you 
note in the number of syllables and in the position of ac- 
cented syllables ? 

Does the poet show deeper feeling in his lament for 
King or in the digressions? 

In what way does the language differ from that of 
V Allegro and 77 Penseroso? Account for the dif- 
ference. 

The Life and Character of the Author. — Find 
out what you can of Milton's childhood home; his tastes 
and habits when a boy; his education; his perplexity about 
the choice of a career; his six years at Horton; his travels; 
his return home; his removal to London; his marriage; 
his prose writings; his spirit in controversy; his domestic 
life; his public life; his situation in 1660; his employment 
during the years of his retirement; the effect on his char- 
acter, of controversy and the failure of his cherished ideals 
of government. 

Into what three periods does his life naturally fall? 

How does the character of his writings conform to 
these three periods? 

What do V Allegro and 77 Penseroso reflect of his 
life at Horton? of his tastes? of his accomplishments? 
Do you find anything indicative of his Puritan sym- 



60 Studies in English 

pathies? anything inconsistent with the Puritanism of 
his time? 

Do you note any change of spirit from the earlier 
poems to Lycidas ? 

What spirit of Puritanism is reflected in Lycidas ? 

General Historical Questions. — Answers to the 
following are valuable because of their bearing on Mil- 
ton's life and work. 

How did James I differ from Elizabeth in matters 
of religious toleration? 

What controversy was carried on during James's reign 
within the established church ? 

Distinguish from one another the terms Separatist, 
Puritan, Prelatist. 

How were the Puritans gradually forced to take ex- 
treme positions in matters of theology as well as in mat- 
ters of government ? 

Compare the Puritan of Milton's boyhood with the 
Puritan of the Civil War. 

Outline for the Study of the Deserted Village l 

I. Preparation 

On account of the simplicity of this poem and the 
familiarity that many of the students already have with 

i Though there may be some doubt as to whether The Deserted 
Village is strictly a lyric, the plan of study will naturally follow 
that of lyric poetry. 



The Teaching of Lyric Poetry 61 

it, little preparation is necessary to introduce the class 
to the first reading. Original compositions on country 
scenes and country life will help them to get into the 
spirit of the poem, and a few facts about Goldsmith's 
early home in the country, and his perplexed life in the 
city, will show the poet's point of view. 

II. Reading and Study 

A first reading should enable the student to understand 
the plan of the poem and to enjoy the descriptive pas- 
sages. A simple outline, if required at this point, will 
aid him in fixing the main divisions in mind and will be 
useful for detailed study when he comes to the second 
reading. This second reading should enable the student 
to understand the poet's thought in every particular. 
He should ponder over the thoughtful passages, memo- 
rize the most beautiful ones, and examine the language 
and meter. 

III. Study of the Poem as a Whole 

Content. — Contrast the village of Auburn when the 
author saw it in youth, with the Auburn of his later years, 
in regard to its appearance and the condition of the 
people. 

Give character sketches of "The Preacher" and 
"The Schoolmaster." Explain what the poet considers 
has caused the changes he laments in the village. 

Contrast the simple natural pleasures with those of 
luxury and wealth. 



62 Studies in English 

What effect on the poor has greed for wealth? on the 
country? What is Goldsmith's idea of the lot of the 
emigrant ? 

Form. — What is the prevailing meter? How do the 
lines rhyme? Compare this poem with The Idylls of 
the King or with The Merchant of Venice in respect to 
meter and rhyme. 

Examine what you think are the most beautiful 
passages in order to find out, if you can, why they are 
beautiful. Are they so because of beauty of sentiment? 
simplicity of language? choice of words? figurative 
language? smoothness of rhythm? 

The Life and Character of the Author. — What 
do we know of Goldsmith's childhood? his family? his 
education? his professional training? his travels? his 
friends in London ? his loneliness ? his disappointments ? 
his literary successes ? his eccentricities ? his kindness ? 

How can we judge of his character from his references 
to the village of his childhood? from what he says of 
wealth, greed, etc.? 



IV. THE TEACHING OF THE DRAMA 

If a teacher were to attempt to investigate the methods 
employed in classes formed to study Shakespeare, he 
would doubtless be impressed first by their variety. One 
teacher lays great stress on reading the play with little 
or no comment; another, with painful slowness, works 
line by line to bring out the details of the thought; while 
a third lays the greatest stress on the structure of the 
play, following minutely the steps from exposition to 
climax and from climax to conclusion. Each plan has 
its advantages, and in the hands of an enthusiastic and 
sensible teacher ought to achieve admirable results. 

The fundamental reason for these wide differences in 
method is the greatness of Shakespeare's genius. We are 
captivated, perhaps, by one phase of his work and fail 
to see, or to see in due proportion, other phases equally, 
or even more, important. As a rule, the limitations of 
time make it impossible thoroughly to investigate many 
lines of study, and the teacher naturally follows his own 
taste in making selections. 

Now the average high school student has limitations 
which we are bound to recognize. Accustomed as he is to 
reading fiction where description and explanation are 

63 



64 Studies in English 

frequently used to aid the imagination and the under- 
standing, he fails to appreciate the situations in a drama 
and the motives for the actions. Again, there are con- 
siderable difficulties of language which must be over- 
come by persistent work. The over-editing of some of 
our text-books is often a real difficulty. A conscientious 
pupil often feels that his lesson is not quite learned un- 
less he has carefully read all the notes. In one school 
edition of a play there are nearly twice as many pages 
of introduction and unclassified notes as of the text. 
Such an edition adds to the difficulties of the work by 
confusing essential and unessential matters. 

It is evident that there is in the study of the drama 
unusual necessity for a plan, flexible enough for the 
varying needs of classes, but definite enough to keep 
classes from discouraging confusion of details. Just 
what the plan shall be for any particular class the teacher 
must decide from the condition and acquirements of 
the class, the limitations of time, and the object in view. 

Few will deny that Julius Ccesar can be read with 
profit in the first year. It will be read, however, at that 
time, chiefly for the interest of the plot, the dramatic 
situations, and the contrasts of character. The study 
of meter will be slight, and of language and grammar 
only enough for an understanding of the thought; while 
the study of structure, textual changes, development of 
Shakespeare's art, date of publication, etc., will be left 
out entirely. On the other hand, the needs of a fourth 



The Teaching of the Drama 6$ 

year class would require a considerably different treat- 
ment of this same play. It may seem trite to say that 
the wisest plan is that which keeps the pupil interested 
in reading and re-reading the text. The more he reads 
the more he understands, and the more he understands 
the more he delights to read. This lies at the bottom 
of all the plans for Shakespeare reading. 

Almost any student will read through a play with 
interest and enthusiasm, if he understands enough to 
keep the thread of the story. If much textual study is 
required with the first reading, the interest is weakened; 
but if the delight of a first reading leads to a second, a 
study of the text brings new delight, especially if the 
study is directed to the interpretation of the thought. 

After the second reading, the study of the play as a 
whole, of the development of characters, of the structure 
and style, and of the various problems of human interest, 
should send the pupil to the play again and again to find 
evidence to support his opinions. This study, together 
with memory work, will help to give that familiarity 
with the play which is one of the tests of satisfactory 
Shakespeare study. 

The following is suggested merely as one plan suitable 
for high school classes: 

I. Preparation 

The presentation of a few matters to arouse interest and 
to anticipate some of the difficulties of a first reading. 
Studies in English — 5 



66 Studies in English 

II. First Reading 
The aim of the first reading is to familiarize the pupil 
with the main facts of the play. General questions may- 
be asked to guide the student, or directions given to 
note the progress of each scene in the development of 
the play. He should not be hindered, however, from 
as rapid a reading as he can make intelligently. 

III. Second Reading 

This careful reading will have for its purpose the in- 
terpretation of the author's thought. Other matters, 
however interesting to a Shakespearean scholar, should, 
for the most part, be avoided. In this thorough study 
many of the matters treated under the next topic will 
naturally come up for discussion. 

IV. Study of the Play as a Whole 
Here it will be possible to sum up the work already 
done and to correlate it with new work in some such 
order as the following: 

A. Content 

i. Setting 

2. Plot 

3. Characters 

B. Form 

1. Meter 

2. Style 

C. The Life and Character of the Author 



The Teaching of the Drama 67 

Outline for the Study of The Merchant of Venice 

I. Preparation 

This will probably be one of the first plays that the 
class will attempt. Hence there will be little or nothing 
to say about the drama, Shakespeare, or the development 
of his art. A short account of the theater in Shakespeare's 
day may be made interesting. Pictures of Venice, with 
an account of its wealth and magnificence in the six- 
teenth century; some facts about the condition of the 
Jew in England in Shakespeare's time; and a statement 
of the strange ideas concerning interest may prevent 
difficulties in the first reading. 

II. First Reading 
A good plan is to assign an act for a lesson; to use 
as much of the hour as necessary to test the class on 
what they have read; to have some passages read aloud; 
and to discuss the purpose of the act and its relation to 
the rest of the play. 

III. Second Reading 

This should be slow enough to give time for study and 
explanation of the difficulties of language, and for the 
study of important passages as they throw light on plot 
and character. 

IV. Study of the Play as a Whole 

Setting. — When and where are the events supposed 
to have taken place ? 



68 Studies in English 

What, in the dress of the people and the customs of 
the time, shows that Shakespeare had England in mind ? 

How long a time is probably covered from the begin- 
ning to the end of the play ? Where do the scenes follow 
one another without loss of time and where do they not ? 

Plot. — What are the two main stories in this play? 
What three minor stories are also part of the play? 

How has Shakespeare made it seem probable that 
Antonio would ask a loan of an enemy like Shylock? 
that so strange a bond should be offered ? that a sensible 
man like Antonio should sign it ? that all his ships should 
be wrecked within three months? that the court should 
really consider taking the life of a noble citizen on such 
a pretext ? and that a quibble like the failure to mention 
a drop of blood should be admitted ? 

Are there other improbabilities in the plot? If so, 
how has Shakespeare treated them? Is there any hint 
in the first act that the bond will be forfeited? Give 
the suggestions that prepare us for Antonio's plight in 
Act III. (I, 3, 47-48, 155-160; II, 8, 25-32, etc.) 

Was it reasoning from the inscriptions, or was it sim- 
ply chance, or was it the characters of the suitors, that 
led them to choose as they did ? Discuss the questions. 

Draw five parallel columns and place at the head the 
names of the five stories and episodes that are woven 
together in this play. Take each scene in turn and write 
under its proper head the main idea to show the progress 
of each story and its interrelation with the others. 



The Teaching of the Drama 



6 9 



The 

Bond 

Story 

Antonio, 

Bassanio, 

Shylock 



The 

Casket 

Story 

Portia, 

Bassanio 



The 

Launce- 
lot-Gobbo 
Episode 
Launce- 
lot, Shy- 
lock, 
Jessica 



The 


The 


Lorenzo- 


Rings 


Jessica 


Episode 


Story 


Portia, 


Lorenzo, 


Nerissa, 


Shylock, 


Bassanio 


Jessica 


Gratiano 



Act I, sc. 1 



sc. 3 



Act II, sc. 1 



sc. 3 



Bassanio 
tells An- 
tonio of 
his love 
for Por- 
tia 



To help 
Bassanio 
Antonio 
binds 
himself 
to Shy- 
lock 



Condi- 
tions 
under 
which 
Portia 
may wed 
are re- 
lated 



Morocco 
chooses 
and fails 



Launce- 
lot 

leaves 
Shylock 
for Bas- 



Jessica 
shows 
her in- 
tention 
to marry 
Lorenzo 



70 Studies in English 

How is the plot introduced? or what is the exposition? 
(The Merchant of Venice, p. 148.) 

As there are two main stories, so there are two cli- 
maxes. What are they ? Which of these we regard as 
the climax of the play will depend on which story we con- 
sider the more important in the development of the plot. 

How does the Launcelot-Gobbo episode help to bring 
out the character of Bassanio? of Shylock? Do you 
think it serves any other purpose? 

How does the Lorenzo- Jessica story help to .weave 
together the two main stories ? to arouse us against Shy- 
lock ? to make us sympathize with him ? Does it serve 
to bring out any other characters? 

How does the rings episode aid in interweaving the 
two main plots? in developing main characters? 

Why did not Shakespeare end the play with Act IV ? 

What is the purpose of Act V ? 

Characters. — In making Shylock the cruel man 
that the story requires, Shakespeare was in danger of 
making him too inhuman to be of interest to an audience. 
Show in detail how he avoided this danger. 

What kind of master was Shylock? What kind of 
father? What good traits had he? 

By what traits do you distinguish Salanio, Salarino, 
and Salerio, or do you think that they lack individual- 
ity? Do Gratiano and Lorenzo have distinctive traits? 

What evidence have we that Jessica was an attractive 
girl ? What were her surroundings, her companions, her 



The Teaching of the Drama 71 

employments, so far as we can judge? What effect 
would such conditions naturally have upon a girl ? 

Compare Shylock with Isaac of York; Jessica with 
Rebecca. 

How was Antonio regarded by Bassanio and his 
friends? by Shylock? by the Duke? What traits of 
character does he show in what he says and does ? 

What anxiety have we reason to believe Antonio had 
for Bassanio? What hints do we get of Bassanio's 
previous actions and employments? What idea do we 
get of Bassanio's ideals from his words and acts ? What 
impression of his character do we get from the devotion 
of Portia and Antonio to him ? 

What successive impressions do we get of Portia from 
what Bassanio says of her in 1, 1 ? from her conversation 
with Nerissa in I, 2? from her manner and language 
toward the unsuccessful suitors? from her bearing 
toward Bassanio? from her planning to relieve Antonio 
and the successful carrying out of her plans? and lastly 
from her part in the ring episode ? 

Form. — What is the meter of the play ? Name several 
variations from the normal line, in number of syllables, 
position of the accented syllables, and in the position of 
the pauses. 

Find several passages that are worth memorizing be- 
cause of their thought (for example, III, 2, 73-107), 
others like V, 1, 54-65, because of poetic fancy. 

Distinguish between tragedy and comedy and tell 



J2 Studies in English 

how this play should be classified. How is this play like 
Shakespeare's latest plays, the Romances? (See Mer- 
chant of Venice, p. 14.) 

The Life and Character of the Author. — What 
few facts about Shakespeare's life have been established 
beyond doubt? What others have we good reason to 
infer ? 

Give a brief account of the theater as Shakespeare 
knew it. 

Into what four periods may we divide Shakespeare's 
work? (See Dowden's A Primer of Shakespeare, or 
Stopford Brooke's Primer of English Literature.) 

Under which period does The Merchant of Venice fall ? 

Outline for the Study of As You Like It 

I. Preparation 

As You Like It differs greatly from The Merchant of 
Venice and Macbeth in its appeal to the mind. To the 
lover of literature it is one of the most delightful of all 
Shakespeare's plays; but its interest is primarily aesthetic, 
not intellectual. For this reason it is extremely difficult 
to devise any satisfactory plan of study. The enthu- 
siastic teacher will find ways of imparting enthusiasm 
to his pupils, but he cannot tell how he does it. 

If this is not the first of Shakespeare's plays for the 
class to study, a review of what they have previously 
learned about the author and his work will make a good 



The Teaching of the Drama 73 

beginning; otherwise the best introduction is the reading 
of the play. 

II. First Reading 

As You Like It is one of the plays that best repays oral 
reading, therefore the finest passages, at least, should 
be read aloud. But the chief purpose of the first 
reading is to get a clear idea of the development of the 
story. To this end the student should understand the 
purpose of each act and the relation of the scenes to 
one another. 

III. Second Reading and Study 

Attention should now be given to the explanation of 
unusual words and constructions, to the interpretation 
of important passages, to the study of plot and character, 
and to memorizing the best passages. 

IV. Study of the Play as a Whole 

Setting and Situation. — What sort of place is the 
Forest of Arden? Does it seem attractive? Why? 
Describe the life that the natives lead. 

Contrast the life of the Duke, Rosalind, Celia, and 
their friends in the forest with the life at court. 

What chances had Shakespeare had to observe the 
different kinds of life portrayed here? 

Plot. — Show the steps of the plot from its beginning 
in I, 2 to its climax in III, 2, and from the climax to the 
conclusion. 



74 Studies in English 

Compare this play with The Merchant of Venice in 
respect to tragic features and to simplicity. 

Why are the minor love stories introduced ? 

Characters. — Contrast Orlando and Oliver as they 
are first presented. 

What is there to give us a good impression of Orlando 
before he does anything to earn it ? Show how our good 
opinion of him is strengthened by his actions in I, 2 ; II, 
6; IV, 3, etc. 

What first prejudices us in favor of Rosalind? How 
does the author use Celia to make us like Rosalind the 
more? What characteristics are brought out to give 
us further admiration for Rosalind in II, 4; III, 2; III, 4; 
IV, 3; V, 2, etc.? 

What is the chief characteristic of Jaques that dis- 
tinguishes him from his companions? How is his view 
of life made to add to our appreciation of the life in the 
forest ? Note how many of the fine passages of the play 
Shakespeare has put in the mouth of Jaques. Why do 
you suppose he did this ? 

Contrast the two dukes. Are they conventional char- 
acters, or do they have distinct personalities? Compare 
Touchstone with Wamba in Ivanhoe. 

Form. — What is the normal meter? 

Show how Shakespeare varies the normal line by 
changing the number of the syllables; the relative posi- 
tion of the accented and the unaccented syllables; and 
the position of the pauses. 



The Teaching of the Drama 75 

What characters always speak in prose? There is 
no accepted theory to account for Shakespeare's use 
of prose, but can you see any difference in the importance 
of the thought or in the depth of feeling between scenes 
altogether in prose and those altogether in verse? 

The Life and Character of the Author. — See 
outline for the study of The Merchant of Venice, p. 72. 

Outline for the Study of Julius Cesar 

I. Preparation 

Little is required to arouse the interest of any class 
in the play of Julius Ccesar. A brief account of the 
salient facts of Roman history that center about Caesar's 
life, and an interesting account of the man himself will 
help the student to an appreciative study. 

II. Reading and Study 

The purpose of the first and second readings will be 
the same as that stated in the previous two outlines. 

III. Study of the Play as a Whole 
Setting. — When does the play open? What two 

events of history has Shakespeare combined in Act I? 

Why? 

How many days are required for the action of the play ? 
Show where the scenes follow one another without 

loss of time, and where they do not. 



j6 Studies in English 

How are the descriptions of nature used to make the 
action more effective? Compare Shakespeare's use of 
storm and prodigy in this play with that in Macbeth. 

Plot. — Where did Shakespeare get his material for 
this play ? How has he modified it ? Select two or three 
important modifications and show why he made them. 
In this story of the rise and fall of the conspiracy show 
by what successive steps it reaches the highest point in 
the first scene of Act III. At this point is our feeling 
one of sympathy with the conspirators or of opposition 
to them ? Why ? Where does the fall begin ? 

Trace the successive steps of the fall to the end in the 
last scene of Act V. 

Does our feeling toward the conspirators change? 
Why? Compare the opening scene of this play with 
the corresponding ones in The Merchant of Venice, and 
Macbeth. Which seems to you the most interesting and 
the best, regarded as an introduction ? 

What gave rise to the quarrel in Act IV ? 

What are the steps in the reconciliation ? 

For what purpose is Caesar's ghost introduced in 
Act IV? What other instances of the use of the super- 
natural are there in this play? What purpose do they 
serve ? 

Should this play have been called Marcus Brutus ? 
Why? 

Characters. — What gave Brutus the great influence 
that he enjoyed? Could he think clearly and reason 



The Teaching of the Drama 77 

logically ? Could he clearly discern facts in the life about 
him? Was he a man of sympathetic nature, or was 
he cold and unfeeling? Give proof in detail for each 
answer. What was his mistake? Is there any evidence 
that he regretted the part that he took? Do you think 
it was possible for him to be thoroughly honorable and 
yet not regret this part? What is the lesson of his life? 

What acts and words of Caesar, with statements made 
about him, tend to belittle him in our eyes? What do 
Brutus and Antony say of Caesar when they are alone, 
speaking freely and without disguise? What words or 
acts of Caesar mentioned in the play are expressive of 
true nobility? 

Why did Shakespeare present in one play two im- 
pressions of Caesar very different from each other? Are 
both correct, or only one, or neither? Give evidence. 

Was Cassius a patriot or a self-seeking politician? 
Give evidence. How could he justify the means that 
he used to win Brutus? In what respect did he surpass 
Brutus? What case did he make against Caesar? How 
far was he right? What weakness and what strength 
does he show in Act IV ? 

How does Antony appear before the death of Caesar? 
(Note what he does and says and what others say of him.) 
What change comes over him after Caesar's death? Is 
his agreement with Brutus in regard to Caesar's funeral 
an honorable one ? Give reasons. 

How does he dare to speak so frankly and boldly in 



78 Studies in English 

~f 
the presence of the conspirators as he does in III, 1, 

184-210? Does he conduct himself throughout the rest 

of the play as a true patriot? Give evidence. What 

were his virtues ? Wherein was he weak ? 

What characteristics of Portia do you discover in II, 1, 
261-278, 291-302; IV, 3, 152-156? Compare her with 
Calpurnia as she appears in II, 2. 

What are the characteristics of the Commoners ? Com- 
pare them with a modern crowd such as might gather 
to see a parade or a celebration. 

Form. — What is the meter of this play? Where do 
we frequently find an additional syllable? Illustrate. 

What other variations from the normal line help to 
keep the verse from becoming monotonous ? 

Explain the metrical difficulties of the following lines: 

" ' Speak, strike, redress.' Am I entreated" (II, 1, 55). 

"Friends, Romans, countrymen, lend me your ears" 
(III, 2, 78). 

"As a sick girl. Ye gods! it doth amaze me " (I, 2, 128). 

Why do you think we have both prose and verse 
in 1, 1? 

Why prose in Brutus's speech and verse in Antony's ? 

Find, if you can, passages that express true patriotism 
(like II, 1, 52-58), others that express hollow rhetoric 
(like I, 3, 91-100), and others that express true and 
beautiful sentiment. 

The Life and Character of the Author. — See 
outline for the study of The Merchant of Venice, p. 72. 



The Teaching of the Drama 79 

Outline for the Study of Macbeth 

I. Preparation 

A review of the facts about Shakespeare's work and 
the development of his art previously studied; a short 
explanation of the meaning and purpose of tragedy; and 
an account of the general belief in witchcraft in the early 
seventeenth century, will help to give the class the right 
attitude toward the play. 

II. Reading and Study 

The purpose of the first and second readings is the 
same as that already stated in the general plan and in 
the outline for the study of The Merchant of Venice. 
The large number of puzzling passages in Macbeth 
makes the second reading unusually important. 

III. Study of the Play as a Whole 

Setting. — Where and between whom were the bat- 
tles fought in the beginning of the play? 

Where are Inverness and Scone? 

About how long a time is involved in the entire play ? 
W T hich scenes follow one another without loss of time, 
and which do not ? 

From the various hints given, what impression do you 
get of the conditions of life in Scotland at the time of the 
play? (I, 2, 20-24; I, 4, 37-38; III, 2, 22-26.) 

How is external nature used to heighten the effect 
made by the witches? 



80 Studies in English 

In what other instances is nature used to heighten the 
effect? (I, 5; II, i, etc.) 

Plot. — What is the purpose of the introductory 
scene? Compare it with the opening scene in each of 
the other plays that you have studied. 

At what point is the introduction of the plot, or the 
"exposition," complete? 

What evidence is there that Macbeth had planned 
before the opening of the play for the murder of Duncan ? 

(I, 3, 5!-S 2 ; !, 7, 47-53-) 

What three incidents help to his success ? (I, 4, 42-43; 
11,3, ii2-ii3;II, 4, 25-26.) 

By what means does Shakespeare make the murder 
of Duncan very effective in moving the audience, even 
though the actual deed is committed off the stage ? 

What facts necessary for the reader to know are brought 
out in the last scene of Act II ? 

What leads Macbeth to the murder of Banquo? 
(Ill, 1, 48-72.) 

Where does Macduff first come in as a force in the 
action? (Ill, 4, 128-129.) 

What hints of his part have we had before ? (II, 3, 113; 
II, 4, 36-38.) 

> What double purpose had the author in having Mac- 
duff's family slain ? 

To what extent does Lady Macbeth influence the 
action of the play? The weird sisters? Macduff? 
Banquo? Macbeth? 



The Teaching of the Drama 8 1 

Note the steps by which Macbeth rose in fame. 

What was the source of Shakespeare's material ? Ac- 
count for the most important changes that he made. 

Characters. — What sort of man have we reason to 
believe Macbeth was at the opening of the play from 
the position that he held; from what his wife said of 
him; from what others said of him; and from his attitude 
in the face of his first crime ? 

What two contrasts are drawn between Macbeth and 
Duncan in scenes 2 and 4 of Act I? Is it strange that 
Macbeth had often wished that he might be king in place 
of Duncan? Why? Show how the prophecies of the 
witches became his temptations. From his soliloquies 
in Act I, scenes 3 and 4, what do you judge of his moral 
sense? What decision has he reached, if any, before he 
returns to his wife? In his soliloquy in Act I, scene 7, 
what two considerations are keeping him from the mur- 
der? What argument of Lady Macbeth was effective 
in bringing him to a decision ? How do you account for 
the fact that he is extremely vacillating in Act I and fear- 
ful in the first part of Act II, while in the battle with the 
rebels he was the personification of bravery and decision? 
What is his state of mind as soon as the act is com- 
mitted? What change takes place as soon as it is dis- 
covered ? Is his fear of Banquo a reasonable one ? What 
effect of his crime is apparent in Act III, scene 2? 
What, if any, further decline do you note in Act III, 
scene 4? In Act V how does Shakespeare contrive to 
Studies in English — 6 



82 Studies in English 

represent Macbeth in a condition of brutality and yet 
to arouse a decided human interest in him, and even 
some sympathy for him? In Macbeth's several solilo- 
quies throughout the play what mental characteristic is 
most prominent ? Give examples. To what extent may 
Macbeth be taken as a type of ambition ? to what extent 
the type of a noble soul led downward to destruction? 
What great truth does his life illustrate, a truth that we 
may call the central idea of the play? 

What mental qualities does Lady Macbeth show in 
Act I, scene 5 ? Why does she not discuss with herself 
the pros and cons of the act to be committed? What 
fundamental difference does this illustrate between her- 
self and her husband? Do you think Lady Macbeth's 
motive for the murder of Duncan was selfish or un- 
selfish? Give reasons. What sort of woman do you 
suppose she was before the play opens? Why? What 
light does Act III, scene 2, throw on her character? 
Does her calmness and tenderness with her husband 
after the guests have left the banquet indicate her 
wisdom in dealing with him, or the pathetic weaken- 
ing of her strong character, or a natural tenderness ? 
Give reasons. What makes the sleep-walking scene so 
pathetic? How has the dramatist prepared us for her 
breakdown? What, if anything, do you find in her to 
admire ? 

Are we to regard Banquo as strong and noble, or 
blamelessly weak, or criminally negligent? Why? 



The Teaching of the Drama 83 

Compare Banquo and Macduff in order to bring out 
the chief characteristics of each. 

What striking contrast is drawn between Macbeth 
and Edward the Confessor? 

Form. — Illustrate the normal line and the chief varia- 
tions from it in Macbeth. 

How does the number of incomplete lines compare 
with the number in the other plays that you have 
studied ? 

Find several highly imaginative passages (like II, 1, 
49-60); several that express pathos (like V, 1, 22-86); 
several that are very condensed (like III, 2, 13-22). 
Which of these passages are most characteristic of this 
play? 

Outline for the Study of Comus 

I. Preparation 

A good way to arouse interest in this poem is to give 
an account of the popularity of the mask in the days of 
Elizabeth and James I; the occasions for which masks 
were written; the people who wrote them; and the prep- 
arations that were made for presenting them. Some pupil 
who has read Kenilworth will be interested to tell of the 
entertainment of Queen Elizabeth by the Earl of Leices- 
ter. Other matters of interest are the character of 
Henry Lawes, his part in Comus, and the occasion for 
which this mask was prepared. 



84 Studies in English 

II. Beading and Study 

The first reading should give familiarity with the 
events related and a general idea of the philosophical 
discussions. The second reading will include a careful 
study of details; Milton's use of mythology; the stage 
setting; the introduction of dances, etc. 

III. Study of the Poem as a Whole 

Content. — When, where, for what occasion, and 
before what audience was this mask presented ? 

Who were the actors? 

Members of the audience often took part in dances, 
which were a feature of the mask. Do you find here any 
indication of such a dance? Find two places in Comus 
where dances are introduced to serve the purpose of an 
anti-mask, that is, a humorous interlude to afford con- 
trast and amusement. 

What supernatural characters are introduced? 

Find passages of compliment to the Welsh, to the 
Earl of Bridge water, and to the Earl's family in the 
opening speech of the Attendant Spirit. 

Find one passage complimenting the musical ability 
of Mr. Henry Lawes (494-496), and several compli- 
menting the Lady Alice and her two brothers (145-150, 
244-264, 297-304, 366, etc.). 

What idea does Milton bring out in the long dialogue 
between the two brothers? between Comus and the 
Lady? 



The Teaching of the Drama 85 

For what do the several characters stand, if we take 
the poem as an allegory? What is the significance of 
the ugly heads of the monsters? of the glass of liquor? 
of the remarkable courage of the Lady in the face of 
danger ? What is the central idea of the poem ? 

Form. — Distinguish between the mask and the regular 
drama; between the mask and the opera. 

Point out the chief lyrical passages. 

Find examples of blank verse, of rhymed pentameter, 
and of the two kinds of verse so common in V Allegro and 
// Penseroso. 

Compare the meter of the dialogues with that of the 
lyric passages. 

Find passages remarkable for beauty of figurative 
language (like 188-192 and 375-380), others for beauty 
of sentiment (like 210-220 and 453-463). 

The Lite and Character of the Author. — See 
outline for the study of Lycidas, page 59. 

What impression of Milton's character do we get from 
Comus? What suggestions do we get here of the best 
side of Puritanism? 



V. THE TEACHING OF THE ESSAY 

Like the lyric, the essay represents directly the au- 
thor's thought and feeling. It appeals to the under- 
standing, is practical in its nature, and for these reasons 
involves less difficulty in teaching; but it is often less 
attractive than poetry and frequently deals with matters 
that are uninteresting to the average boy and girl. A 
good essay is indirectly valuable in affording illustration 
of the principles of composition and rhetoric, but it is 
directly of great value in stimulating thought and broad- 
ening the mind. Nowhere, however, is there greater 
need of a wise plan of work, since the teacher must over- 
come mental inertia on the part of the pupils, and usually 
they are not spurred on, as in novel reading, by their 
interest in the subject itself. 

The author's purpose is to impart his thought clearly 
and vigorously. Here lies the suggestion for any plan 
of study. If the thought is to be appreciated the students 
must understand the matters of which the essay treats. 
Furthermore, they must examine the conclusions and 
note how they are reached. In this way they will learn 
to discriminate between opinion and established fact; 
between logical and illogical reasoning. Since the au- 

86 



The Teaching of the Essay 87 

thor, in accomplishing his purpose, has paid special at- 
tention to orderly arrangement, to clear and forceful 
statement, and to a skillful choice of words, so these 
matters must be the subject of careful study on the part 
of the student. Conscious imitation has its place in 
developing the power to write, and it is no less valuable 
in gaining an appreciation of an author's style. The 
study of the essay offers the best opportunity for imi- 
tative work of this kind, since it is the essay that the 
student himself, in his school exercises, is continually 
trying to write. Care should be taken at this stage of 
the work not to ask pupils to discuss matters that are 
beyond their knowledge. 

General Plan eor the Study of the Essay 

I. Preparation 

Complete understanding of the matters that the 
essayist expects his readers to know usually involves 
more study than the class have time to give. Carlyle in 
his Essay on Burns takes for granted the reader's fa- 
miliarity with the poetry of Burns and the facts of his 
life, while probably only a few of the pupils who come 
to the study of this essay have more than a scanty knowl- 
edge of either of these subjects. It remains for the 
teacher, then, to select the most important facts and 
to bring them before the class by various means as fully 
as the time will permit, remembering in the choice and 



88 Studies in English 

presentation of subjects that it is of the utmost impor- 
tance to get the student to approach the new book with 
interest and enthusiasm. 

II. Reading and Study 

A rapid reading by the pupil before the work is taken 
up in the class room may or may not be practicable. A 
safer method, perhaps, is to give the class a general out- 
line of from five to ten topics, and ask them to read the 
essay topic by topic. The recitation period may be used 
to follow, in a broad way, the development of the thought. 

After the class have thus become familiar with the 
main ideas of the essay they will be ready for a second 
and more careful reading. This will give the students 
opportunity for the study of details, for completing the 
detailed outline, and for a general discussion of con- 
clusions, all of which should have for their purpose the 
appreciation of the author's thought. 

m. Study of the Essay as a Whole 
This will include general questions on content, form, 
and the life and character of the author. 

Outline for the Study of the Sir Roger de 
Coverley Papers 

I. Preparation 

One of the chief causes of the great popularity of 
The T alter and The Spectator at the time when they 



The Teaching of the Essay 89 

were published was the truthful representation of life 
that they contained. The touches of humor and satire 
in the delineation of character and the criticism of the 
follies of the day were most fully appreciated by those 
who were best acquainted with English life. It would 
seem, then, that the best way to interest boys and girls 
in these papers would be to introduce them briefly but 
vividly to the life of England in the days of Queen Anne, 
by the treatment of such topics as London, its size, 
population, and external appearance; public morals; 
frivolities of women; lawlessness of young men; the 
coffee-houses; newspapers, etc. Ashton's Social Life in 
the Reign of Queen Anne and Chapter III of Macaulay's 
History of England will give the teacher a mass of ma- 
terial upon which he can draw to supplement the in- 
troduction in the text-book. There is danger, however, 
that the wealth of material will tempt him to devote too 
much time to this preparatory work. 

Other topics of value to the pupil are: the found- 
ing of The Tatler, its purpose, and its success; how 
Addison became associated with Steele; the founding 
of The Spectator; a few facts about Steele and Ad- 
dison. 

II. Reading and Study 
If these papers are taken up too much in detail the 
work becomes tiresome, but they contain so many refer- 
ences to the customs and manners of the time, the dis- 



90 Studies in English 

cussion of so many practical matters, and so many 
incidents full of human interest that a careful study is 
necessary for an intelligent appreciation of them. Each 
paper should be considered by itself; its main idea dis- 
covered; the truth of its statements tested; the side- 
lights on the character, beliefs, and experiences of the au- 
thors noted (for example, Steele's experiences as a soldier 
suggested by The Journey to London) ; and the skill of the 
writer pointed out in variety of incident, unity of thought, 
naturalness and picturesqueness of narrative. Most of 
the study will naturally be on the content, but a certain 
amount of attention should be given to practice writing 
in imitation of Addison's easy but dignified style. For 
composition work there are suggestions for description 
and narration as well as for exposition and argument. 
Imitations of certain papers may be extremely profitable 
and usually arouse a healthy interest in the content of 
the essays as well as in the style. 

III. Study of the Book as a Whole 

Content. — What follies of the time, or of human na- 
ture of all time, are satirized here ? Show how they are 
satirized. 

What views on politics do you find expressed directly 
or indirectly? What evidence do you find of the Spec- 
tator's Whig prejudices ? (See Papers XII, paragraph 3 ; 
XX, paragraph 2; XXI; XXII.) 

What views are given on practical questions of life, 



The Teaching of the Essay 91 

for example, management of a house, attending church, 
economy, etc. ? 

Do you think a man unfit "for studies of a higher 
nature" and "uncapable of any liberal art or profession, " 
likely to succeed "in the occupations of trade and com- 
merce"? (See Paper VIII.) Discuss the wisdom of a 
liberal education for boys who expect to be business men. 

Do you suppose the observance of the Sabbath was 
more necessary, as Addison seems to imply, for country 
people than for people in London? (Paper XI.) 

Which do you think Addison preferred, the city or 
the country? Give evidence. 

Make a list of the eighteenth-century customs and 
manners referred to in these papers. 

Write an account of the Spectator and Sir Roger at 
Button's or Will's. 

Recast or modernize Paper XIV on Labour and Exer- 
cise in such a way as to adapt its argument to the sup- 
port of school and college athletics. 

What types of character or classes of men are repre- 
sented by persons in these papers? Which, if any, do 
not seem like real persons ? Do they develop, or do they 
remain throughout as they are first represented? By 
what means does the author make us acquainted with 
them, — by what he says of them, by what they say them- 
selves, or by what others say of them ? 

Do the whimsicalities of Sir Roger make him ridicu- 
lous or lessen our respect for him? 



92 Studies in English 

What qualities would such a man find to admire in 
the "perverse widow"? 

Write a paper entitled "Sir Roger at the Play" mod- 
eled upon Addison's paper, but suppose Sir Roger to 
have seen, instead of The Distressed Mother, Shakes- 
peare's Macbeth. 

Write a reply from Sir Roger to Will Wimble on re- 
ceipt of the jack. 

Write a letter from the Chaplain to the Spectator 
announcing the death of Sir Roger and speaking as he 
naturally would of his patron. 

Write an account of the trouble between Will Wimble 
and Tom Touchy referred to in Paper XXVII. 

Compare the papers written by Addison with those 
written by Steele to determine which author is more 
successful in introducing characters; which in portray- 
ing the details that make these characters live; which 
uses more care in the choice of words and the form of 
sentences; which has a more refined and courteous man- 
ner; and which shows the more feeling. Give evidence. 

Form. — Make a topical outline of several papers, 
for example, XIX, XXI, XXVI, to show whether or not 
they have unity. 

Do the paragraphs have unity? a clear order of 
development? Examine the sentences to see whether 
they are, in the main, loose or periodic. 

Compare this series of papers with some novel, pref- 
erably The Vicar of Wakefield, in respect to clearness 



The Teaching of the Essay 93 

of setting, delineation of character, structure of plot, 
definiteness of purpose, and clearness and grace of 
style. What is lacking to make the series a novel? 

The Life and Character of the Authors. — What 
do we know of Addison's childhood? his school and col- 
lege life ? his reputation as a student ? his tour of the con- 
tinent? his entrance into political life? his political suc- 
cesses? his literary ventures and successes? his marriage? 
his death ? What traits of character made him loved by 
his friends ? How was he regarded by his political ene- 
mies? In the paper entitled The Spectator what traits 
are like Addison's own traits? From the Spectator 
papers that you have read what do you infer of Addi- 
son's power of observation? his feeling toward the fol- 
lies of the day ? his attitude toward religion ? 

Contrast Addison's early life with Steele's. Relate 
the main facts of Steele's school and college life, his ex- 
periences in the army, his first literary ventures, his 
popularity in society, his political successes and dis- 
appointments. Compare Steele's traits of character with 
those of Addison. 

Outline for the Study of Irving's Sketch-Book 

I. Preparation 

Most students have probably read The Legend of 
Sleepy Hollow and Rip Van Winkle before entering the 
high school, and know something about Washington 



94 Studies in English 

Irving. To enjoy the other sketches fully one should 
know well the man who wrote them, for they are 
strongly personal. The reader is to travel with Irving, 
to see things with his eyes, and to consider subjects with 
his good sense and fine taste. One way to approach 
the task of teaching the Sketch-Book, then, is to assign 
for re-reading, or at least for review, the two stories 
mentioned above, and to awaken a lively interest in the 
genial man who wrote them. This may involve reversing 
the usual method of studying the author last. 

Washington Irving by Charles Dudley Warner, in 
the American Men of Letters Series, and The Life and 
Letters of Washington Irving by Pierre Irving will fur- 
nish abundant and interesting material for both teacher 
and student. 

What do we know of Irving's parentage ? his character- 
istics as a boy ? his education ? his first trip to England ? 
his travels? his friends? his habits? his return from 
abroad? his military experience? his first literary ven- 
tures? his long stay in Europe? his literary successes? 
his great reception on his return to New York? his life 
at Sunnyside? his public services? 

II. Reading and Study 

These sketches should not be read hurriedly but 
thoughtfully and, as far as time will permit, aloud in 
class. They contain many fine descriptions which should 
be used, with the aid of questions and composition ex- 



The Teaching of the Essay 95 

ercises, to keep alert the imagination of the pupils. The 
following are a few of the topics that might be used for 
oral or written work: 



The Author's Account of Himself 

The author's choice of facts. (Why he chose these 
and did not choose others.) 

The charm of travel in America and in Europe — a 
comparison and a contrast. 

The Voyage 

What Irving has omitted in the account of his voyage. 

An imaginative sketch of Irving as he may have ap- 
peared to one of his fellow-passengers. (Base the sketch 
on what Irving says that he did and saw.) 

Descriptive features in the last four paragraphs. 

An original account of some voyage. 

The Christmas Sketches 

Irving's purpose in these papers. 

The Christmas spirit in England. 

Travelling by stage coach. 

The coachman — a character sketch. 

The coachman at the inn-yard — a description. 

Irving's fellow-travelers. 



96 Studies in English 

Irving — a sketch by one of the travelers. 
Arrival at Bracebridge Hall. 
The squire — a character sketch. 
The festivities of Christmas eve. 
The family at supper. 
Prayers on Christmas morning. 
The church service. 
The parson. 

The pleasures of the day. 

The dining room when the boar's head was brought 
in — a description. 
The wassail bowl. 
After-dinner sports. 
The mask of Christmas. 
An original account of some Christmas holiday. 

Rural Life in England 

What Irving actually saw that suggested the com- 
ments in this essay. 

The conclusions that he drew from his observations. 

Rural life in England, as Irving saw it, compared with 
rural life in America. 

Going to church — an imaginative sketch based on 
Irving. 

The Country Church 

The rich man's arrival at church — a description. 
The audience at worship — a description. 



The Teaching of the Essay 97 

A country audience in America — a sketch from real 
life. 

The nobleman and the newly rich — a contrast. 

A detailed outline of Irving's account of the two 
families. 

Westminster Abbey 

Time and circumstances of the visit and the mood of 
the visitor. 

What Irving saw in the abbey (omit the musings). 
Reflections suggested by the visit. 
History of the building. 

The Mutability of Literature 

The setting for Irving's discussion of literature. 
A summary of Irving's thought on the changing of 
language and literature. 

The Art of Book-making 

Adventures in the British Museum. 
The meaning of Irving's dream. 

How far is it honest for schoolboys and schoolgirls 
to draw upon books for their essays? 

Stratford on Avon 

An evening with Irving at the Red Horse Inn. 
The Shakespeare House. 
Studies in English — 7 



98 Studies in English 

A visit to Shakespeare's grave. 
The groves and park about Charlcote. 
The "great hall." 

An original account of a visit to the home of an author, 
or to a place of historic interest, or of natural beauty. 

The Angler 

Irving's fishing excursion. 

A stroll along the banks of the Alun. 

The fisherman philosopher. 

III. Study of the Book as a Whole 

Content. — What attractive features of country life in 
England does Irving represent? 

Compare them with attractive features of country life 
in America. 

Examine the sketches where the scene is laid in the 
city to see whether Irving wrote with equal appreciation 
of city life. 

Irving's interest in antiquities. 

Compare Irving's essays with Addison's in respect to 
descriptions of country life; city life; discussions of 
practical questions; representation of character; phi- 
losophy of life; purpose in writing. 

Form. — Examine Irving's method of describing a per- 
son, for example, Master Simon in Christmas Eve, and 
compare it with Scott's procedure in Ivanhoe. 

Examine his description of the inn kitchen in The 



The Teaching of the Essay 99 

Stage-Coach and compare with one of your own on a 
similar subject. 

Study the paragraphs in Rural Life in England to 
discover whether or not there is in each one a topic sen- 
tence and a regular method of development. 

Outline for the Study of Franklin's Autobiog- 
raphy 

I. Preparation 

The interest of such a book as Franklin's Autobiog- 
raphy does not lie in poetic language and rhetorical 
figures, but in the human interest shown in this record 
of a man's life. The teacher's aim, then, will be to fix 
in the minds of the students the essential facts of Frank- 
lin's life; their relation to one another; his connection 
with the advancement of society and with the achieve- 
ments of our country; and the traits of his remarkable 
character. The approach to this study will most natu- 
rally be through what the students already know of 
Franklin's achievements and of his connection with 
history. These facts gathered from the class can be 
supplemented by others judiciously chosen for the pur- 
pose of making real the time in which Franklin lived, 
and of arousing an interest in the man himself. 

II. Reading and Study 
The student will have little or no difficulty in follow- 
ing the narrative of these pages, and with the aid of 



ioo Studies in English 

topics can be held strictly to account for the mastery of 
essential details. A good way, at first, is to assign, with 
the chapter for home reading, a list of topics to be 
studied, and later to require the pupils themselves to 
make out similar lists. The analysis of chapters is 
in itself valuable exercise and the use of topics for 
oral quiz and discussion is probably the best way 
for the daily study of such work. It is not desir- 
able, however, that the analysis be too minute, or 
that it be carried so far as to kill the interest in the 
reading. 

III. Study of the Book as a Whole 

The purpose of this comprehensive study is two-fold: 
first, to group together in their proper relation the essen- 
tial facts of the life and development of the man; and, 
second, to fix important matters and characteristic in- 
cidents. The following are a few topics and questions 
suggested for this study: 

What were Franklin's achievements in business? in 
science? in literature? in military service? in diplomatic 
service? in public improvements? 

Give the facts of his education, including his school 
training, his private reading and study, and his broader 
education that came from association and travel. 

For the advantages of his education how much did 
he owe to his parents and the circumstances in which 
he chanced to find himself as a boy? How much to 



The Teaching of the Essay 101 

fortunate association with wise men ? How much to his 
own wise and persevering efforts? 

Tell what you can of his ancestors, and discuss how 
much he owed his success to heredity. 

How did Franklin manage men, get them to think as 
he did, and do what he wished? Illustrate by inci- 
dents. 

What traits of character were in the main responsible 
for his attainments in each of the lines in which he gained 
a distinct success ? Mention a few of the most important 
principles of his homely philosophy. Give incidents 
from his own acts to show whether or not he practised 
what he preached. 

Outline for the Study of Carlyle's Essay on 
Burns 

I. Preparation 

Some of the following topics call merely for state- 
ments by the teacher; some for a special report; and 
others for class study. The more familiar the class are 
with the poetry and the life of Burns the more profitable 
will be their study of this essay. 

The Scotchman's remarkable love for Burns. 

The popularity of many of Burns's songs and poems. 

Reading and study of some of Burns's poems. 

A study of the important facts of Burns's life. 

Who Carlyle was. 



. pp. 


55- 60 


• pp- 


60- 66 


• pp- 


66- 98 


• pp- 


99-134 



102 Studies in English 

His interest in Burns. 
Circumstances of writing this essay. 
The assumption of the author with reference to the 
knowledge of his audience. 

II. First Reading 

An outline like the following will be helpful in getting 
the thought with the first reading: 
The purpose of biography . 
General estimate of Burns . 
Burns as a literary man 
Burns as a man . 
A plea for breadth and generosity in our 

estimate of the man . . . pp. 134-136 

III. Second Reading 

It is so difficult for students to gain a mastery of the 
thought that the second reading must be slowly and 
carefully done. 

IV. Study of the Book as a Whole 

Content. — What is the theme of the essay? 

Trace the development of the theme by means of a 
full topical outline. 

Has the essay unity? 

Upon what is based the claim that Burns was a great 
poet? 

What are the elements of his greatness? 

From the three paragraghs (pp. 80-84) the first of 



The Teaching of the Essay 103 

which begins: "In fact, one of the leading features in 
the mind of Burns is this vigour of his strictly intellectual 
perceptions," would Carlyle have us believe that Burns 
had a strong character? To what extent, if at all, did 
he have a strong character? 

Is it true that there was "but one era in the life of 
Burns, and that the earliest"? (see p. 99). 

To what extent was his life a failure? 

What were the causes of his failure? What share 
of the blame belongs to his friends and acquaint- 
ances ? 

To what extent was his life a success ? 

Form. — Basing your answers on a few specific para- 
graphs, tell what you find about the unity of the para- 
graphs, the clearness of their development, regularity of 
sentence structure. 

Do you find the words specific or general? forceful 
and full of feeling, or conventional ? 

How much use is made of figurative language? 

Does the style seem finished as though the work had 
been revised with care, or rough as though written at 
white heat and not revised ? Illustrate. 

The Life and Character of the Author. — What 
do we know of Carlyle's parents? his education? the 
simplicity and severity of his early life? his perplexity 
in choosing his life work? his friendship with Edward 
Irving? his early manhood struggles with doubt, poverty, 
and sickness? his courage? his faith in himself? the slow 



104 Studies in English 

recognition of his work? his literary successes? his life 
in London? his friends? his last years? 

What characteristics made Carlyle disagreeable to live 
with? 

What characteristics made him enthusiastically ad- 
mired by a multitude of men? 

What did Carlyle see in the life of Burns to attract 
him so strongly? 

Why does it seem somewhat remarkable that he should 
have written sympathetically of Burns? 

Point out passages in this essay that indicate that 
Carlyle was a man of deep emotion, of sympathy, of 
sincerity, of strong moral force. 

Outline for the Study of Macaulay's Life of 
Johnson 

I. Preparation 

The more a student knows of life in London during 
Johnson's time, and especially of the life of literary men, 
the more he will get from this essay; nevertheless, it is 
interesting in itself without that knowledge. It is proba- 
ble that any boy or girl who takes up the book will 
have read The Vicar of Wakefield, or at least have 
studied the life of Goldsmith and have learned of the 
"Literary Club." To review some of the facts about 
the members of this club and about the life in London 
at that time will be comparatively easy, but to at- 



The Teaching of the Essay 105 

tempt more before reading the essay does not seem 
necessary. 

II. Reading and Study 

The first reading should enable the student to make 
a simple outline to be filled in later. The teacher might 
take part of the recitation periods to introduce the class 
to BoswelPs Life of Johnson. 

The second reading should make the class thoroughly 
familiar with the matters treated in the essay and with 
the important features of Macaulay's style. 

III. Study of the Book as a Whole 

The students should be required to write in their note- 
books outlines and short paragraphs on topics based on 
the essay. Most of the following topics have been used 
for this purpose: 

Content. — The story of Johnson's life; boyhood and 
education, his thirty years of struggle, his mature years, 
his decline and death. 

His appearance. 

Hindrances to his success — in the time in which he 
lived, in his surroundings, in himself. 

Preparation for his life work: inherited tastes and 
tendencies, his education, circumstances by which he 
was surrounded. 

His friends and associates: patrons, friends in his 
poverty, friends in his success, his dependents. 



106 Studies in English 

His writings: political, critical, poetical, biographical, 
miscellaneous. 

(Mention the separate writings in each division, char- 
acterize his work, and compare his success in one line 
with that in another.) 

Johnson's travels. 

Johnson the writer and Johnson the talker. 

The Literary Club. 

Macaulay's treatment of Boswell. 

A detailed outline of the essay. 

A character sketch of Johnson showing the weak- 
nesses as well as the strength of his character. 

Rhetorical Features. — Examine the opening sen- 
tence in each of the paragraphs, pp. 57-69, to see how 
Macaulay secures coherence in his essay. 

Examine the paragraphs on pp. 64-66, to find the 
plan of structure. 

Find passages in this essay where Macaulay aims to 
secure emphasis by the use of the following devices: in- 
verted order in the sentences, the use of particular terms 
where the general would be more accurate, the use of 
superlatives, striking comparisons, repetition of ideas, 
contrast, balanced expressions, succession of short sen- 
tences, biblical language. 

Define the following words and use them in sentences: 
railed, maundered, coxcomb, parasite, conclave, turgid, 
folio, overture. 

The Life and Character of the Author. — What 



The Teaching of the Essay 107 

do we know of Macaulay's childhood? his precocious- 
ness? his education? his tastes and acquirements while 
at college? his entry into politics? his parliamentary 
life? his life in India? his literary work? his habits? his 
principles? 

As we compare him with other literary men what 
were his special talents? his limitations? 

Compare him with Carlyle with reference to character, 
if you have studied the Essay on Burns. 

What characteristics of Macaulay can you trace in 
this essay? 

Outline for the Study of Burke's Speech on 
Conciliation 

I. Preparation 

This work is usually found to be the most difficult book 
of the course in English; yet in the opinion of many the 
results of its study are most valuable. The fact that it 
is difficult leads the teacher to exercise great care in plan- 
ning his work, especially in the matters that he presents 
to his class in preparation for the actual reading. The 
first difficulty lies in the fact that pupils are only vaguely 
acquainted with the conditions to which Burke con- 
stantly refers. The long story of the quarrel between 
the Colonies and the Mother Country is known to them 
only in a superficial way. Any exhaustive study of the 
history of the time is out of the question; so, unless the 



108 Studies in English 

class have been studying history recently enough to make 
a rapid review profitable, the best plan seems to be to 
assign definite topics for individual study and class report. 

The following is a suitable list for this purpose: 

The Navigation Acts — what they were, their purpose, 
and the ways in which they were violated. 

Renewed attempt, after the Treaty of Paris, to regu- 
late colonial commerce. 

Grenville's New Act of Trade, Stamp Act, and Quar- 
tering Act. 

The Stamp Act Congress in New York in 1765. 

The Townshend Acts. 

Opposition of the colonies led by Massachusetts, to 
Parliament's right to tax them. 

The Boston Massacre. 

The Hutchinson Letters. 

The Boston Tea Party. 

The Boston Port Act, The Massachusetts Govern- 
ment Act, and The Administration of Justice Act. 

Lord North's Plan for conciliating the colonies. 

The New England Restraining Bill ("The Grand 
Penal Bill"). 

An interesting introduction to the man Burke is 
found in Green's Short History of the English People, 
Chapter X. 

II. First Reading 
While the class is at work studying the historical 



The Teaching of the Essay 109 

topics, a part of the recitation period may profitably be 
spent in reading aloud the speech itself. Some teachers 
have been most successful in having the entire speech 
read aloud during successive recitations while the mem- 
bers of the class were looking up historical topics or 
doing other preliminary or supplementary work. At all 
events, the oral reading of a considerable portion of the 
speech at some time or other is strongly to be advised. 

The purpose of the first reading is to make clear 
Burke's plan, and to arouse the imagination so that the 
student may enter into the spirit of the occasion. To 
that end the main divisions of the speech should be noted 
by the pupil and the propositions of the principal argu- 
ments set down for use later in making a detailed brief. 

Introduction: pp. 37-45. 

Main Argument: pp. 46-96. 

Conclusion: pp. 96-110. 

Refutation: pp. 1 10-123. 

Peroration: pp. 124-127. 

A. England ought to concede; for 

I. The population is too large to be 

trifled with. . . . .pp. 46- 47 
II. The industries even more than the 
population make the colonies im- 
portant. . . pp. 47- 55 
III. The use of force is unwise (refuta- 
tion) pp. 55- 57 



no Studies in English 

IV. The temper and character of the 
colonists make conciliation advis- 
able pp. 57- 65 

V. Our policy of coercion has endan- 
gered the fundamental principles 
of our government. . . . pp. 65- 69 

VI. Concession is a necessity. . . pp. 69- 79 

B. What the Concession ought to be. 

I. It must satisfy the colonists on the 

subject of taxation. . . . pp. 79- 82 
II. It should admit them into an in- 
terest in the English Constitution, pp. 82- 95 
III. Satisfaction is possible without ad- 
mitting the colonies into Parlia- 
ment pp. 95-110 

III. Second Reading 

This reading should be accompanied with a careful 
and detailed study, both of thought and form. There 
seems to be a general agreement that a detailed brief 
should be studied; but some prefer to have the brief more 
or less fully worked out by the teacher, while others 
maintain that much, if not most, of the value of such 
practice is lost unless the student actually works it out 
for himself. The former hold that students make sorry 
work of it unless they have a great deal of help, and 
that the results are not commensurate with the time and 
effort expended. On the other hand, an honest and 



The Teaching of the Essay 1 1 1 

earnest effort on the part of the students to work out for 
themselves the detail of the argument, even though they 
are not all equally successful, is so valuable that a good 
deal of time and effort may well be devoted to it. If 
the class can work out in the first reading, even with 
much help from the teacher, the main propositions of 
the brief as they are given above, they can be expected 
to work out most of the details without much difficulty. 

Another very important and valuable line of study in 
Burke's writings is the significance of his language. The 
meaning of such words as fomented, mace, bias, sensible, 
dissidence, and the significance of such phrases as auction 
of finance, ransom by auction, taxation by grant, touched 
and grieved, repay careful study. The study of from 
fifty to a hundred such words and phrases, carefully 
selected by the teacher, will do much toward familiariz- 
ing the students with Burke's thought, and with his habit 
of mind. In addition to this detailed study, and in con- 
nection with it, there should be frequent review of the 
main arguments in their logical order. In this way the 
student, while adding to his knowledge of the argument 
in detail, will be acquiring a larger grasp of the argu- 
ment as a whole. 

Finally, there is abundant opportunity here for the 
study of rhetorical features: the orderly arrangement of 
thought in the paragraphs, the series of short sentences, 
the long sentences, biblical language, epigram, paradox, 
rhetorical question, figurative language, etc. A com- 



112 Studies in English 

parison with Macaulay's essays will add interest and 
profit to the study. 

IV. Study of the Book as a Whole 

Content. — Why did Burke apologize for presenting 
his plan? 

What comparison did he draw between his own 
record and that of Parliament on the question of colonial 
policy ? 

Why did he make this comparison? 

What is the purpose of paragraph beginning on p. 51, 
1. 3; on p. 52, 1. 24? 

Find several statements that Burke has supported with 
indisputable evidence; for example, comparisons of ex- 
ports (pp. 48-53)- 

Find several statements where he gives no direct evi- 
dence, for example, the facts about the population of the 
colonies (p. 46), statements about the religion of the 
colonists (p. 60). 

Why has he not given evidence for all? When may 
we make statements in argument without supporting 
them with evidence? 

Is the fact that admitting Ireland, Wales, Chester, and 
Durham into the constitution has proved successful any 
proof that a similar plan will succeed in America? 

How does Burke make his argument effective ? 

Was Burke's purpose in speaking of the " profane herd 
of those vulgar and mechanical politicians" (p. 126) to 



The Teaching of the Essay 1 13 

arouse righteous anger against a certain class, to flatter 
his audience, or did he have some other purpose? 

Rhetorical Questions. — In the first fourteen para- 
graphs (pp. 37-46) show how Burke states his theme, 
seeks to overcome opposition, and tries to gain a favor- 
able reception for his plan. 

Discuss the peroration as a fitting conclusion in 
length, thought, and language. 

Find illustrations of argument by example, argument 
by elimination, deductive argument. 

State two or three of Burke's arguments in the form 
of a syllogism. 

Find examples of climax; of contrast; of parallel 
structure; of biblical language. 

What evidence do you find here of Burke's wide learn- 
ing? philosophical turn of mind? conservatism? moral 
earnestness? 

Find passages that indicate the oratorical character of 
this work. 

Find illustrations of epigrams, practical maxims for 
men in public life. 

Verify the statement that the secret of Burke's rich- 
ness of thought "consisted to a large extent in his habit 
of viewing things in their causes and tracing them out in 
their results." 

Find several passages that illustrate Burke's power of 
imagination. 

Find illustrations of colloquial expressions like "such 
Studies in English — 8 



H4 Studies in English 

a pass," "have done the business," etc. Find also illus- 
trations of poetic expressions quite the opposite of these. 

Examine carefully the structure of several paragraphs, 
for example, those beginning with 1. 4, p. 70; 1. 19, p. 70; 
1. 27, p. 72; 1. 26, p. 90; 1. 29, p. 95; 1. 16, p. 96. Find 
the topic sentence, if there is one; show how the other 
sentences are related to it and to one another; show 
how the principles of mass and proportion have been 
followed; note the logical order of thought and the 
means for securing a close coherence. 

The Life and Character of the Author. — Find 
out what you can of Burke's childhood home; his edu- 
cation; his early tastes and tendencies; his early experi- 
ences in London; his entrance into politics; his reputation 
in public affairs; his home life; his attitude toward the 
French Revolution; his characteristics as an orator; the 
endurance of his work in government and literature. 
Write a character sketch of Burke, drawing upon this 
speech for illustrations wherever possible. 

Outline for the Study of Emerson's Essays 

Emerson did not write for children. His essays are 
intended for those who have at least some maturity of 
mind, and the will to think. It is evident that if the 
essays are to be studied in high school they should be 
undertaken only by advanced classes. But there are 
many in our high schools who will be able to under- 



The Teaching of the Essay 1 1 5 

stand enough of Emerson's thought to make a study of 
his essays exceedingly profitable. It will require good 
judgment on the part of the teacher to determine which 
topics should be thoroughly mastered, and which should 
be lightly touched upon, for no one will doubt that the 
high school is not the place for a thorough study of such 
essays. 

I. Preparation 
If the class has studied Carlyle or Ruskin,^it will be 
well to begin with a comparison of these two men with 
Emerson in order to show the latter's place as a self- 
appointed teacher and his motives in presenting to his 
audience such matters as he discusses in his essays and 
addresses. A brief study of the life and character of 
Emerson will help us to understand his message. Before 
assigning one of the essays for study the teacher should 
provide for the class a brief outline or analysis, and ex- 
plain the general thought which it contains. The thought 
is often so difficult to follow that it is unwise to require 
the pupil to make his own outlines. 

II. Reading and Study 

With the aid of an outline or analysis the first reading 
should enable the student to get a fair understanding of 
the essay as a whole. He should know the theme and 
what it means, the author's plan and method of develop- 
ment. 

The second reading should be taken up with as much 



n6 Studies in English 

attention to detail as the maturity of the class makes 
advisable. Care should be observed that in the study 
of details the larger unit be not forgotten. To this end 
the teacher, by frequent review, should make sure of a 
thorough mastery of the outline, and by questions 
should bring out the connection between details and 
main propositions. Parrot work, to which there is a 
strong temptation whenever hard thinking is called for, 
can be avoided by requiring the pupil to state in his own 
words the main ideas, which Emerson frequently em- 
bodies in epigrammatic form. 

III. Study of Each Essay as a Whole 

The American Scholar 

What is the theme of this essay ? 

What distinction does Emerson make between "the 
farmer " and "Man on the farm," between " the scholar" 
and "Man Thinking"? 

Emerson speaks of the education of the scholar by 
nature, by books, and by action. Develop his idea of 
education by nature. What does Lowell say of the in- 
fluence of nature on man in the early part of The Vision 
of Sir Launjal? 

How does Emerson think the scholar should be 
educated by books ? Explain his meaning in the follow- 
ing expressions about reading: "Yet hence arises a 
grave mischief " (p. 39); " Books are for the scholar's idle 



The Teaching of the Essay 117 

times " (p. 42 ); " One must be an inventor to read well " 

(P- 43)- 
To what extent is Emerson's idea of the use of books 

applicable to the high school student? 

What is meant by "education by action"? Explain 
the following: "Only so much do I know, as I have 
lived " (p. 45), and "Life is our dictionary " (p. 47). 

What are the duties of the scholar and how are they 
comprised in self-trust? (p. 49). 

"In self-trust all the virtues are comprehended" (p. 
52). Discuss this statement, showing what is meant by 
self-trust, what virtues are comprehended in it, and 
what virtues, if any, are not comprehended in it. 

What new spirit in literature is noted on pp. 58 and 59 ? 

Where, besides in literature, does Emerson find the 
same spirit? 

Did he regard his own age as a fortunate or unfortunate 
one for living ? Why ? 

Summarize the concluding paragraph. 

Self-reliance 

What is the theme of this essay? 

What leading idea in this essay was also in the last ? 

What conclusion does Emerson draw from the fact 
that children and youth are independent and unaffected 
in their opinions? 

Why do they change as they grow older? 



1 1 8 Studies in English 

Explain the meaning of the following: "Society every- 
where is in conspiracy against the manhood of every 
one of its members " (p. 69). "Whoso would be a man, 
must be a nonconformist " (p. 69). 

Account for Emerson's scornful reference to " popular 
charities " (p. 71). 

Show how our consistency is "a terror that scares us 
from self-trust " (p. 75). 

What virtue does one need to have to be able to scorn 
consistency? (p. 77, 1. 1). 

What fault does Emerson find with hero worship? 
(p. 80). 

What are intuitions? 

Whence do they come? 

Show clearly how Emerson bases his belief in self- 
trust on his belief in intuitions. 

Why does he scorn the custom of traveling? 

What do you think are the advantages of foreign 
travel ? 

Write on "The right spirit and the wrong spirit in 
foreign travel." 

What conclusion does Emerson lead to from a con- 
sideration of reliance on society? on government? on 
property ? 

Why do we dislike a conceited man ? Compare a con- 
ceited with a self-reliant man. 

Make a collection of the epigrammatic sayings in this 
essay that you think are worth remembering. 



The Teaching of the Essay 119 

Compensation 

What is the theme of this essay? 

Illustrate the meaning of the law of compensation by 
referring to its working in nature, in human life, in gov- 
ernment. 

What did the Greeks mean by their goddess 
Nemesis ? 

Show the folly of trying to escape this law, by point- 
ing out how it invariably works in the results of 
deeds of crime, of acts of honest labor, of deeds of 
love. 

Explain the following statements and give illustra- 
tions: 

"But for every benefit which you receive, a tax is 
levied " (p. 124). "The history of persecution is a his- 
tory of endeavours to cheat nature " (p. 129). 

What is Emerson's answer to the thoughtless who say: 
"What boots it to do well? ... if I gain any good I 
must pay for it; if I lose any good I gain some other"? 
(p. 130). 

Explain "Nothing can work me damage except my- 
self " (p. 132). 

What compensations are there for our calamities? 

Show how this law of compensation is illustrated in 
the acts of some of the characters that you have studied 
in fiction: for example, Shylock, Ivanhoe, Isaac, Portia, 
Godfrey Cass, Silas Marner. 



120 Studies in English 

Friendship 

What is the theme of this essay ? 

How is friendship different from companionship? 

How do friends enlarge and improve us ? 

Why often do a Our friendships hurry to short and 
poor conclusions " ? (p. 145). 

What are the two elements that go to the composition 
of friendship ? Illustrate each. 

What is Emerson's idea about the possibility of help- 
ful conversation where more than two take part ? 

Discuss, to show the measure of truth that it contains. 

What, in the persons themselves, is necessary for the 
most helpful conversation ? 

To what extent is it true that " friends are self-elected "? 

(P- 154). 

What are the requirements for perfect friendship? 
(pp. I54-I57)- 

Why would Emerson do with his friends as with his 
books? (p. 158). (See The American Scholar, pp. 38-44.) 

Do you think that he would have us become recluses ? 
Would he have us make no friendships except ideal ones ? 
Try to summarize the truth of this essay in your own 
words for those of your own age. 

Prudence 

Explain and illustrate the meaning of prudence. 
What is the theme of this essay ? 



The Teaching of the Essay 121 

What reason does Emerson give for discussing it? 

Explain his classification in paragraph beginning 
" There are all degrees of proficiency " (p. 164). 

How does the cultured man's view of prudence differ 
from that of the man who lacks culture? 

By referring to the comedies that you know, verify 
the statement, "The spurious prudence ... is the 
subject of all comedy " (p. 165). 

What are the " petty experiences which usurp the hours 
and years"? (p. 167). How are we instructed by them? 

How does nature punish neglect of prudence? 

Name some of the imprudences of men in general, of 
men of genius, of scholars (pp. 1 71-173). 

What is the result of such imprudence ? 

Why is prudence called a minor virtue? (p. 175). 

To what conclusion does the discussion lead? 

Shakespeare; or, The Poet 

What is the theme of this essay ? 

Explain fully the meaning of originality. 

What is more important in a man of genius than 
originality ? Illustrate. 

In Shakespeare's youth how were dramatic entertain- 
ments regarded? 

What material did Shakespeare find at first to work 
upon? 

What were the great sources of his material in the 
plays with which you are familiar ? 



122 Studies in English 

Have other writers felt free to borrow as they pleased ? 

What is their justification ? 

Explain the meaning of: "It is easy to see that what 
is best written or done by genius in the world, was no 
man's work " (p. 191). 

What have scholars and Shakespeare societies found 
out about Shakespeare? How did his contemporaries 
regard him? Explain: " Shakespeare is the only biog- 
rapher of Shakespeare" (p. 198), and "He is the one 
person, in all modern history, known to us " (p. 200). 

What do we learn of him through his works ? 

Sum up the author's idea of Shakespeare's creative 
power, representation of life, power of expression, cheer- 
fulness, imperfection. 

Gifts 

What is the theme of this essay? What motives 
prompt people to give gifts? Which ones are right? 
Which wrong? What things are suitable for gifts? 
What are most appropriate? What danger is there in 
giving those things that are substantial benefits? Are 
beautiful things better for gifts than useful ones? 
Why? "He is a good man who can receive a gift 
well " (p. 214). Explain. 

Discuss the good and the evil of our custom of Christ- 
mas giving. 

Discuss Carlyle's statement: "It is a mortifying truth, 
that two men, in any rank of society, could hardly be 



The Teaching of the Essay 123 

found virtuous enough to give money, and to take it as 
a necessary gift, without injury to the moral entireness 
of one or both." Essay on Burns (pp. 1 21-12 2). 

The Life and Character of the Author. — What 
do we know of Emerson's ancestry? his childhood? his 
education? his experience as a teacher? his work as a 
minister? his travels in Europe? his friendship with dis- 
tinguished men ? his connection with Transcendentalism ? 
the chief difference between him and other Transcen- 
dentalists? his success as a lecturer? his connection with 
Harvard College ? his home life ? the central idea in all 
his teaching? his service to his generation? 

Outline for the Study of Webster's First Bunker 
Hill Oration 

Much may be expected from the study of this oration. 
It is one of the few books required for careful study. 
It will be taken up late in the high school course, when 
pupils are maturing rapidly. It is distinctly American, 
the work of probably our greatest orator. But it is not 
difficult; the meaning is not puzzling, the structure is 
simple. The teacher may reasonably require of his 
pupils great familiarity with the divisions of the speech, 
with the thought of each, and with the language. 

I. Preparation 

The preparation necessary for the first reading is very 
slight. If the imagination of the student can be aroused, 



124 Studies in English 

so that the occasion on which the Oration was delivered 
can be made to seem real and full of interest, he will 
read to better advantage. Webster's audience must be 
imagined, the number of people present, the different 
classes: the veteran, the old resident who saw the battle, 
the children and grandchildren of those who fell, and 
the distinguished visitor from France. A picture of 
Webster with some hints of his great reputation will help 
to complete the scene. 

II. Reading and Study 

The first reading should, if possible, be assigned for 
one lesson so that the class may read the oration at a 
single sitting. 

The second reading should be accompanied by mem- 
ory work, the preparation of an outline, the writing of 
compositions (some intended for speaking), and the study 
of introduction, conclusion, and climaxes. 

III. Study of the Oration as a Whole 

Content. — A description of the scene from the point 
of view of Webster. 

The same from the point of view of one of the listeners. 

How did the orator try to arouse the interest and 
emotion of his audience in his introductory paragraphs? 

Webster's ideal for the monument. 

The emotions that Webster appeals to in his address 
to the veterans. 



The Teaching of the Essay 125 

The character of Warren. 

The example of Salem when the port of Boston was 
closed. 

The spirit that bound the colonies together in their 
struggle. 

Lafayette's part in the Revolution. 

"A chief distinction of the present day is a com- 
munity of opinions and knowledge amongst men in dif- 
ferent nations, existing in a degree heretofore unknown." 

Compare our own day with Webster's in this re- 
spect. 

The causes of the French Revolution compared with 
those of the American Revolution. 

Excesses of the French Revolution. 

What reasons can you find for the almost entire lack 
of such excesses in our own? 

The story of the Greek Revolution, 1820-29. 

When and why had the Spanish colonies in South 
America revolted? 

What conditions among these colonies gave Webster 
some doubt of their great success? 

To what extent has history shown his doubt to be well 
founded ? 

The conclusion of the Oration, its idea and its appeal 
to the feelings. 

Form. — The purpose of the introductory paragraphs. 
Compare, if possible, with that of some other introduc- 
tion. 



126 Studies in English 

Discuss Lodge's statement that this Oration is "a 
succession of eloquent fragments." 

Between which of the main divisions, if any, is there 
a clear connection in thought ? 

Between which, if any, is there a transition para- 
graph ? 

Choose a number of paragraphs, for example, 8, 9, 12, 
21, 28, 29, and make an analysis to discover the topic 
sentence, if there is one, and the method of develop- 
ment. 

What figure of speech is strikingly illustrated in para- 
graphs 13 and 14? 

Examine the most emotional passages like para- 
graphs 12-17 to note tne sentence structure and choice 
of language. 

The Life and Character of the Author. — What 
do we know of Webster's parentage? his boyhood? his 
college life ? his experience as a schoolmaster ? the be- 
ginning of his career as a lawyer? his rapid success? 
his first term in Congress ? his success as an orator ? 
the importance of his work on the Dartmouth College 
case? his position on the great questions between 
North and South? the effect on his reputation of 
his Reply to Hayne? the effect on his reputation of 
his seventh of March speech? the great traits of his 
character ? 

Relate some of the anecdotes that illustrate his chief 
characteristics. 



The Teaching of the Essay 127 

Outline for the Study of Washington's Farewell 
Address 

I. Preparation 

A careful study of this address should include famil- 
iarity with the matters discussed and an analysis to show 
the structure of the essay. The most natural prepara- 
tion for the first reading will be to recall the time and 
circumstances of the address, and to tell what part 
Madison and Hamilton had in preparing it. 

II. Reading and Study 

The first reading should be done, if possible, at a 
single sitting, and should enable the student to get the 
main points of the address and to appreciate the way in 
which Washington regarded the people. 

The second reading should be made with special at- 
tention to the preparation of a detailed outline; to an 
analysis of the thought; and to a study of the paragraph 
structure. 

III. Study of the Address as a Whole 

Content. — What were Washington's reasons for de- 
clining a third term? 

Are they such that all our presidents should follow his 
example ? 

Explain what Washington meant by a " unity of gov- 
ernment." 



128 Studies in English 

Give the various reasons that the people ought to have 
for cherishing this idea of unity. 

What does Washington say about sectionalism? 

To what extent had the country already suffered from 
it? 

Discuss party-spirit, — its nature, its tendencies, its 
good compared with its evil. 

Compare Washington's remarks with Addison's dis- 
cussion on party-spirit in the Sir Roger de Coverley 
Papers. 

Do we now suffer from any of the evils that Washing- 
ton points out as resulting from party-spirit? 

What relation do religion and morality bear to each 
other and to government ? 

How would Washington have us deal with foreign 
powers ? 

To what extent do we in our day follow his ideal ? 

What was his advice concerning political connection 
with foreign nations ? 

To what extent do we follow it ? 

Form. — Summarize the introductory paragraphs, com- 
pare them with the introduction in Webster's First 
Bunker Hill Oration, and note the difference in pur- 
pose and method. 

What is the purpose in paragraph 7? 

Find other paragraphs in the address that have a 
similar purpose. 

Examine several paragraphs (for example, 9, 10, 16, 



The Teaching of the Essay 129 

17), note the topic sentence, if there is one, and the 
methods of development. 

Compare this address with Webster's First Bunker 
Hill Oration with respect to the logical connection of 
the main topics, the choice of language, and the effect- 
iveness of the conclusion. 



Studies in English- 



APPENDIX 



COLLEGE ENTRANCE EXAMINATIONS 
IN ENGLISH 

COLLEGE ENTRANCE EXAMINATION BOARD 

(1905) 
A — Reading and Practice ■ 

Select one subject from each oj the following groups and 
write upon each a composition at least two pages in length. 
Be careful to keep to the subject. Pay special attention to 
the structure oj sentences and paragraphs. 

Group I 

1 A scene from Ivanhoe in which one of the following 

characters is a principal figure: Robin Hood, 
Friar Tuck, Wamba, Rowena, Isaac of York. 

2 The Vicar finds Olivia. 

3 The scene as it might have appeared to one standing 

just outside the castle gate, as Sir Launfal emerged 
from his castle in his search for the Holy Grail. 

4 The ship of the Ancient Mariner is becalmed. 

'In all these papers special attention should be given to spell- 
ing, punctuation and paragraph structure, and neatness. 

131 



132 Studies in English 

Group II 

1 Why does Ida finally consent to marry the Prince ? 

2 Was the Dumfries aristocracy justified in "cutting" 

Robert Burns? 

3 Show how the Sir Roger de Coverley Papers deal 

with the foibles of the time of Addison. 

4 What does the Spectator mean when he says that 

Sir Roger is "something of a Humourist"? De- 
fine Sir Roger's peculiar humor, and contrast it 
with that of some other character in the Sir Roger 
de Coverley Papers. 

Group III 

1 What elements in the character of Godfrey Cass 

account for his relief at his wife's death and his 
failure to care for his child; also for his confession 
to Nancy and resolve to adopt Eppie ? 

2 Tell the story of the caskets in The Merchant oj 

Venice. 

3 Which in your opinion is the superior character, 

Cassius or Antony? Give the reasons for your 
opinion. 

4 What qualities in the character of Brutus are brought 

home to us in the last scene of Julius Ccesar? 
Trace in the action of the play the influence of 
any one of these qualities. 



Appendix 133 

B — Study and Practice 

The candidate is expected to answer jour of the questions 
on this paper, selecting them in accordance with instruc- 
tions under the headings. 

I Take one part only, either a or b. 

a "Sir, let me add, too, that the opinion of my having some 
abstract right in my favor would not put me much 
at my ease in passing sentence, unless I could be 
sure that there were no rights which, in their exer- 
cise under certain circumstances, were not the most 
odious of all wrongs and the most vexatious of all 
injustice." 

(1) Name each clause by giving the grammatical 
subject, the verb, and the complement (if any). 
State the kind of clause. Give the reasons for 
your statements. 

(2) Parse the italicized words. 

b (1) Comment upon the unity of the following sen- 
tence and give the reasons for your opinion. 

"At this moment the clang of the portal was heard, a 
sound at which the stranger started, stepped hastily 
to the window, and looked with an air of alarm at 
Ravenswood, when he saw that the gate of the court 
was shut, and his domestics excluded." 

(2) In each of the sentences printed below tell 
whether the use of the italicized expression is 



134 Studies in English 

right or wrong, and give the reason for your 
decision. 

p The congregation was free to go their way. 

q He said that he himself and I should go to-morrow, 

but that you would not go till next week. 
r Seated on an upright tombstone, close to him, was 

a strange unearthly figure, whom, Gabriel felt 

at once, was no being of this world. 
s After eating a hearty dinner our carriages were 

brought to the door. 

77 Take one part only, either a or b. 

a "Magnanimity in politics is not seldom the truest wisdom; 
and a great empire and little minds go ill together. If 
we are conscious of our station, and glow with zeal 
to fill our places as becomes our situation and our- 
selves, we ought to auspicate all our public proceed- 
ings on America with the old warning of the church, 
Sursum cordal We ought to elevate our minds to the 
greatness of that trust to which the order of Provi- 
dence has called us." 

Write one paragraph or two or more connected 
paragraphs on the passage given above. Let 
your answer show (i) the division of Burke's 
speech in which this passage occurs, (2) the rela- 
tion of the idea here expressed to his plan for the 
government of America, (3) the manner in which 
his motions carry out this plan. 



Appendix 135 

b "It appears that Addison, on his death bed, called himself 
to strict account, and was not at ease until he had 
asked pardon for an injury which it was not even 
suspected that he had committed, — for an injury 
which would have caused disquiet only to a very 
tender conscience. Is it not then reasonable to infer 
that, if he had really been guilty of forming a base 
conspiracy against the fame and fortunes of a rival, 
he would have expressed some remorse at so serious 
a crime?" 

Write one paragraph or two or more connected 
paragraphs on the passage given above. Show 
clearly to what reference is made in the last 
sentence. 

Ill Take one part only, either a or b. 

a "Thou hast it now: king, Cawdor, Glamis, all, 
As the weird women promised, and I fear 
Thou play'dst most foully jor't: yet it was said 
It should not stand in thy posterity, 
But that myself should be the root and father 
Of many kings. If there come truth from them — 
As upon thee, Macbeth, their speeches shine — 
Why, by the verities on thee made good, 
May they not be my oracles as well 
And set me up in hope? But hush, no more." 

In a paragraph or two show who is the speaker and 

what the passage suggests respecting his character. 

Give the meaning of the italicized words and phrases. 



136 Studies in English 

b "We wish to add a few words relative to another subject 
on which the enemies of Milton delight to dwell — 
his conduct during the administration of the Pro- 
tector." 

In a paragraph or two summarize Macaulay's 
views on the subject indicated in the passage 
given above. 

IV Take one part only, either a or b. 

a "Mortals, that would follow me, 
Love Virtue; she alone is free. 
She can teach ye how to climb 
Higher than the sphery chime; 
Or, if Virtue feeble were, 
Heaven itself would stoop to her." 

By whom were these words said? to whom? when? 
where? under what circumstances? Show the 
relation of these lines to the opening lines of the 
poem; to the plot of the poem. Answer in a par- 
agraph or two. 
In Macaulay's Essay on Milton occurs the following 
passage : 
"In none of the works of Milton is his peculiar manner 
more happily displayed than in the Allegro and the 
Penseroso. It is impossible to conceive that the 
mechanism of language can be brought to a more 
exquisite degree of perfection. These poems differ 
from others as ottar of roses differs from ordinary 
rose-water, the close-packed essence from the thin, 



Appendix 137 

diluted mixture. They are, indeed, not so much 
poems as collections of hints, from each of which the 
reader is to make out a poem for himself. Every epithet 
is a text for a stanza." 

Quote from L 'Allegro and // Penseroso several 
phrases, lines, or passages that exemplify the 
statements in italics. Give your reasons for the 
selection of anv one of these. 



(1907) 
A — Reading and Practice 

Select one subject from each of the following groups, and 
upon each subject you select write at least two pages. 

Group I 

1 Under what circumstances did "the vision" come 

to Sir Launfal? 
What was "the vision"? What was its effect upon 
him? 

2 In what respect was Macbeth, though the bravest 

of the generals, "infirm of purpose"? 

3 Show how, as the villagers said, " Silas Marner had 

brought a blessing on himself by acting like a 
father to a lone, motherless child." 

4 Compare Ivanhoe with the most interesting story 

(by some other author) that you have ever read. 



138 Studies in English 

Group II 

1 Give an account of the duel between Fitz- James and 

Roderick Dhu. 

2 Relate how Sir Bedivere dealt with Excalibur. 

3 Describe Goldsmith as he probably appeared to 

Johnson or Garrick or Bos well or Burke. 

Group III 

1 Show from the Sir Roger de Coverley Papers that 

the Spectator spoke truly when he said, " the city 
is the great field of game for sportsmen of my 
species." 

2 Which question or questions on this paper has your 

training in English best fitted you to answer? 
Give the reasons for your answer. 

3 Describe the most dramatic moment (as it seems to 

you) in The Merchant of Venice. 

4 What are the chief characteristics that you would 

emphasize in the presentation of Shylock on the 
stage ? Give the reasons for your answer. 

B — Study and Practice 

Answer four of the questions on this paper, selecting 
them in accordance with the instructions under the head- 
ings. 

I Take one part only, either a or b. 

a " Mr. Dance told me to jump down and knock, and 



Appendix 139 

Dogger gave me a stirrup to descend by. The 
door was opened almost at once by the maid. 

" ' Is Dr. Livesey in ? ' I asked. 

" No, she said; he had come home in the afternoon, 
but had gone up to the Hall to dine and pass 
the evening with the squire. 

" This time, as the distance was short, I did not 
mount, but ran with Dogger's stirrup-leather to 
the lodge gates. Here Mr. Dance dismounted, 
and taking me along with him, was admitted 
at a word into the house." 

1 State as to each of the verbs in the sentences in 

the preceding passage whether it is (a) transitive 
or intransitive, (b) active or passive, (c) regular 
or irregular. 

2 State which of the verbs here used transitively 

may be used intransitively, and which used 
intransitively may be used transitively. 

3 Give the principal parts of each irregular verb. 

4 Name the voice, mood, tense, person, and num- 

ber of two of the principal verbs. 

5 Explain the construction of one infinitive and one 

participle. 

What constitutes a sentence? On the basis of your 
answer to this question, discuss whether the 
following are properly to be considered sen- 



140 Studies in English 

tences. Recast those of the five that you deem 
unsatisfactory: 

1 They were an odd couple and she was at least 

forty years old. 

2 The enemy's troops charged, broke and fled, and 

we pursued them to the edge of their camp. 

3 His father's family having all died many years 

before. 

4 One who stood foremost in every good work, 

never relaxing his efforts till the cause in which 
they were enlisted had triumphed. 

5 Many years had rolled by, many changes had 

taken place, but the old elm still stood. 

In answering the questions selected from II, III, and 
IV, regard each answer as an English composition; give 
special attention to spelling, punctuation, and the con- 
struction not only of sentences and paragraphs but of the 
whole com\ 



II Take one part only, either a or b. 

a Who was on the English throne when Burke de- 
livered his Speech on Conciliation? Was the 
speech delivered before or after the Stamp 
Act? Before or after the Declaration of In- 
dependence? Who was the English- Prime 
Minister at the time? Did Burke's motions 
prevail ? 



Appendix 141 

Burke stated that the spirit of liberty among the 
Americans was "fierce", and that there were 
but three possible ways of dealing with it: one 
was, to remove the causes. What were the other 
two methods? Which of them did Burke ad- 
vocate, and why? 

b Contrast at some length the policy of the English 
ministry with that of Burke as set forth in this 
speech. 

777 Take one part only, either a or b. 

a From the facts in the play justify Cassius's estimate 
of the Romans: 

"And why should Caesar be a tyrant then? 
Poor man! I know he would not be a wolf 
But that he sees the Romans are but sheep: 
He were no lion, were not Romans hinds. 
Those that with haste will make a mighty fire 
Begin it with weak straws: what trash is Rome, 
What rubbish, and what offal, when it serves 
For the base matter to illuminate 
So vile a thing as Caesar!" 

— Act I, Sc. 3, 103-111. 

b Discuss the speeches of Brutus and Antony at the 
funeral of Caesar, showing how each is char- 
acteristic of the speaker and of the part each 
bears in the action of the play. 



142 Studies in English 

IV Take one part only, either a or b or c. 

a Quote from Milton or Shakespeare at least ten con- 
secutive lines (other than those printed on this 
paper); give their setting and tell why to you 
the lines seem worth committing to memory. 

b Discuss the position of men of letters in the times 
of Addison and Johnson respectively. 

c Give the history of Johnson's Dictionary. 



HARVARD UNIVERSITY 

(1906) 

The examiner expects you to plan each answer before 
writing, to write neatly and legibly, to spell and punctuate 
correctly, and to be accurate and intelligent in choosing 
words and in framing sentences and paragraphs. 

I 

Write carefully planned compositions on three of the 
following subjects. 

1 The good traits in Macbeth's character. 

2 Antonio and Bassanio as gentlemen. 

3 The scenes in The Merchant of Venice which excite 
sympathy for Shylock. 

4 Scott's poetry. 

5 My first reading of The Lady of the Lake. 



Appendix 143 

6 The best scene in The Lady of the Lake and my 
reasons for liking it. 

7 "I found Him in the shining of the stars, 

I mark'd Him in the flowering of His fields, 
But in His ways with men I find Him not. 
I waged His wars, and now I pass and die." 

8 How Gareth became a knight. 

9 Godfrey Cass. 

10 My reading apart from the prescribed books. 

II 

The examiner expects answers not merely correct but 
also well composed. Answer all the questions. 

1 What is the plot of Comus? 

2 Are the characters in Comus as much like real per- 
sons as the characters in Shakespeare's plays? Give 
reasons for your answer. 

3 Relate the early life of Addison up to the time when 
he began to write for the Spectator. 

4 Tell what you know about Johnson's Club. 



(1907) 

Write carefully: the quality oj your English is even 
more important than your knowledge oj the books. Plan 
your answers bejore you write them, and look them over 
carefully after you have written them. 

Omit either 3 or 4. 



144 Studies in English 

i (Forty minutes.) Tell in the first person, as simply 
and as vividly as you can, the story of The Ancient 
Mariner. 

2 (One hour.) Explain as fully as you can the differ- 
ences between the life of knights and ladies at the time 
of King Arthur or of Ivanhoe, and the life of people in 
London in the eighteenth century, — the time of Sir 
Roger de Coverley, of Goldsmith, and of Dr. Johnson. 

3 (Twenty minutes.) What does Macaulay mean 
when he says that Johnson "came up to London pre- 
cisely at the time when the condition of a man of letters 
was most miserable and degraded"? 

4 (Twenty minutes.) Write a letter, addressed to a 
person with whom you are not acquainted, applying for 
a position and setting forth your qualifications for it. 



PRINCETON UNIVERSITY 

(1907) 
A 

Any dishonesty in the examinations, including the 
giving as well as the receiving of aid, will, if detected, 
permanently debar the candidate from entering the 
University. 

The purpose of this examination is to test (1) the can- 
didate's ability to write English correctly, and (2) his 



Appendix 145 

acquaintance with certain specified works. The candi- 
date is advised to go over his paper carefully before the 
end of the hour, to make sure that it is correctly spelled, 
punctuated, and paragraphed. 

Write short compositions on three of the following 
topics: 

I King Arthur as portrayed in the Idylls of the 
King. 

II The English country squire as portrayed in the 
Sir Roger de Coverley Papers and in Silas Marner. 

III The gradual deterioration of Macbeth's char- 
acter. 

IV Shylock and Isaac of York — a comparison. 
V Lancelot's sojourn at Astolat. 



B 

The purpose of this examination is primarily to test 
the candidate's knowledge of certain specified works; 
but the examiners will refuse to accept any paper which 
shows marked deficiency in English composition. The 
candidate is therefore advised to look over his paper 
carefully before the end of the hour. 

I (a) Why was Brutus chosen as the leader of the 
conspiracy? In what events of the play does he show 
Studies in English — 10 



146 Studies in English 

his fitness as a leader ? In what events does he show his 
unfitness ? 

(b) In what ways does Brutus reveal the gentler side 
of his character? 

II (a) Name the supernatural characters in Comus, 
and show what influence each exerts upon the human 
beings of the play. 

(b) To what ways of spending his old age does the 
speaker in // Penseroso look forward ? 

III What does Burke say on each of the following 
topics, and how does he relate his discussion of each to 
his argument for conciliation? 

(a) The use of force in bringing a colony to terms. 
(b) American fisheries, (c) The history of Ireland . 

IV (a) Addison's travels. 

(b) Johnson's intimate friends. 



BRYN MAWR COLLEGE 

(Spring, 1906) 
The composition should contain not less than sixty 
lines 0} the examination book, and should be correct in 
spelling, grammar, punctuation, paragraphing, and 
general arrangement. 



Appendix 147 

{Question 1. For candidates prepared on the reading 
set by Bryn Mawr College.) 

1 How far, in your opinion, is Keat's saying, "I have 
loved the principle of beauty in all things," borne out 
by those of his poems that you have read ? In answering 
the question consider, for instance, the subjects chosen, 
the method of treatment, the style, and the meter. 

{Question 2. For candidates prepared on the reading 
set by the Conference on Uniform Entrance Requirements 
in English.) 

2 Is Scott, in your opinion, greater as poet or novelist ? 
Answer in as full detail as you can, basing your opinion 
on The Lady of the Lake and Ivanhoe. 

{Questions 3 and 4 are for all candidates.) 

3 Describe Sir Roger de Coverley. 

4 Tell, briefly, Shylock's story. 



(Autumn, 1906) 

1 The function of tragedy is said to be, " to touch the 
heart with a sense of beauty and pathos, to open the 
springs of love and tears." Compare the characters of 
Brutus and Shylock with this definition in mind, stating 
which makes the stronger appeal to your sympathies and 
why. 



148 Studies in English 

2 Describe the old Pyncheon house in the House of 

the Seven Gables. 

3 Tell the story of The Ancient Mariner. 



(Spring, 1907) 
Composition (1) should contain not less than sixty 
lines oj the examination book, composition (2) not less 
than thirty lines, and both compositions should be correct 
in spelling, punctuation, grammar, paragraphing and 
general arrangement. 

1 Write a composition on the Minor Poems of Mil- 
ton that you have read, discussing their chief character- 
istics and giving reasons for the pleasure you derive from 
them. In writing the composition consider, for example, 
the subjects chosen, the method of treatment, the style 
and the meter. 

2 Describe in as full detail as you can the scene 
from Scott's Ivanhoe that you remember most vividly. 



THE UNIVERSITY OF CHICAGO 

(Spring, 1907) 
State: 

1 At what school you studied English. 

2 Under whose instruction. 

3 For how long. 

4 The text-books used. 



Appendix 149 

A— Composition 

Write a short composition on two of the following topics. 
Use plain, natural English, free from errors in spelling, 
punctuation, and grammar, and correct in idiom. Before 
you begin, think what you are going to say. You will be 
fudged by how well you write, not by how much. 

1 The history of the writing of The Ancient Mariner, 

and its place in the development of English Litera- 
ture. 

2 The story of The Passing of Arthur. 

3 Banquo. 

4 The siege of Front-de-Bceuf's Castle. 

5 The character of Oliver Goldsmith. 

B — Intensive Reading 

Explain the following passages: 

a And Caesar's spirit, ranging for revenge, 
With Ate by his side come hot from hell, 
Shall in these confines with a monarch's voice 
Cry " Havoc." 

— Julius CcBsar. 

Who speaks, and when? 

b You shall digest the venom of your spleen, 
Though it do split you; .... 
I'll use you for my ... . laughter, 
When you are waspish. 

— Julius Ccesar. 



150 Studies in English 

c Philomel will deign a song, 
In her sweetest, saddest plight, 
Smoothing the rugged brow of Night 
While Cynthia checks her dragon yoke 
Gently o'er the accustomed oak. 

— 27 Penseroso. 
d Alas, what boots it with incessant care 

To tend the homely slighted shepherd's trade, 
And strictly meditate the thankless Muse ? 

— Lycidas. 
C — Rhetoric 

1 Explain and illustrate the principle of coherence, (a) 

in the sentence, (b) in the paragraph. 

2 Define and illustrate simple, complex, and compound 

sentences. Write a brief account of a happening of 
yesterday; first write it in simple sentences only, 
then rewrite it in complex and compound sentences. 

3 Comment on the use of the italicized words in the fol- 

lowing sentences: 

The quick fishes steered to and fro about the body. 

How terrible, in " The Ancient Mariner," are the 
dead throats singing spectral carols! 

Stars are my candles, and the wind my friend. 



(Autumn, 1907) 
State: 

1 At what school you studied English. 

2 Under whose instruction. 



Appendix 151 

3 For how long. 

4 The text-books used. 

A — Composition and Rhetoric 

1 Write, first making an outline, on two of the following 

topics: 
a Was Portia a lovable character — a girl who would 

make a good wife? 
b The story of Lancelot and Elaine. 
c Johnson and Goldsmith. 
d Macaulay's ideas of the Puritans and of King 

Charles I. 
e High-school fraternities. 
/ The town I like best. 

2 Explain the principle of coherence, and show how, from 

sentence to sentence, you have made the coherence 
plain in your two foregoing compositions. 

3 Define and give synonyms for the following words: 

passive, taunt, sanguine, affect, fix, stingy. Be 
equally careful about the truth and the form of your 
definitions. 

4 Give, in a sentence of 30 words or more, three ex- 

amples of parallel constructions. 

B — Literature 

1 Who wrote: The Faerie Queene, Rasselas, Treasure 
Island, Vanity Fair, Tintern Abbey, Love's Labor's 
Lost, Robinson Crusoe, Locksley Hall? 



152 Studies in English 

2 What becomes of Fleance? of Rebecca, the Jewess? 

of Cassius? of Gareth? of Godfrey Cass? What was 
the result of Burke's speech on Conciliation? 

3 Locate and explain the following passages: 

a Comes the blind Fury with the abhorred shears. 
b Or bid the soul of Orpheus sing 

Such notes as warbled to the string 

Drew iron tears down Pluto's cheek, 

And made Hell grant what love did seek. 
c He were no lion, were not Romans hinds. 
d I am a soldier, I, 

Older in practice, abler than yourself 

To make conditions. 
e The death of each day's life, sore labor's bath. 



BROWN UNIVERSITY 

(1905) 
I 
Answer all the questions: 

1 Correct any errors in the following sentences. Give 
reasons for the changes you make. 

a The man whom she thought was her cousin was 

not. 
b After digging for some weeks longer, another 
strata was discovered. 



Appendix 153 

c Seating myself by the fire, which my odious com- 
panion had lighted, he thus began his tale. 

d To the right of this monument stands the City 
Hall, a building of granite, and a few more struc- 
tures of less importance. 

e The tire was cut all the width and was caused by 
a wood-chopper who placed an axe beneath the 
tire. 

2 Insert the proper forms (shall or will) in the follow- 
ing sentences: 

a I be glad to do it. 

b I gladly do it. 

c If the school year is shortened, we find that 

less work is accomplished. 
d you take my book, or you be able to do 

without one? 

3 Define the following expressions: predicate, passive 
voice, intransitive, possessive, superlative. 

II 

Answer three questions: 

1 Describe the quarrel between Brutus and Cassius 
in the Fourth Act of Julius Ccesar. What character- 
istics of each does the quarrel reveal ? 

2 Narrate the adventures of Moses at the fair in The 
Vicar of Wakefield. 



154 Studies in English 

3 Where does Carlyle place the responsibility for the 
misfortunes of Burns ? 

4 Sketch the life of Lowell. 

5 Describe the change which came over the title- 
character in The Princess. 

Ill 

Answer all the questions: 
i Explain words in italics. 

The English power is near, led on by Malcolm, 
His uncle Siward, and the good Macduff: 
Revenges burn in them; for their dear causes 
Would to the bleeding and the grim alarm 
Excite the mortified man. 

Whether beyond the stormy Hebrides, 
Where thou perhaps under the whelming tide 
Visit' st the bottom of the monstrous world; 
Or whether thou, to our moist vows denied, 
Sleep'st by the fable of Bellerus old, 
Where the great Vision of the guarded mount 
Looks toward Namancos and Bayona's hold. 



2 Scan the last two lines in the second passage above, 
as they would be read naturally. Name the feet in the 
first of the two lines, and give the metrical name for the 
second line as a whole. 

3 What does Macaulay say of Addison as a satirist? 



Appendix 155 

(1907) 
I 
i Decline the personal pronouns. 

2 Give the preterites and past participles of the fol- 
lowing verbs: lie, lay, sit, set, raise, rise, dive. 

3 Give the plurals of the following nouns: spoonful, 
Mussulman, mother-in-law, series, sheep, alumnus, 
prospectus. 

4 Give the case, number and construction of each noun 
and pronoun, and the mood, tense, voice and construc- 
tion of each verb in the following sentence: If, in short, a 
writer sincerely wishes to communicate to another mind 
what is in his own mind, he will chose that one of two or 
more words equally in good use which expresses his mean- 
ing as fully as it is within the power of language to ex- 
press it. 

II 

Write carefully prepared themes, about two pages in 
length, on two of the following topics: 

1 A mediaeval tournament. 

2 The career and character of Lancelot. 

3 The outlaws in Ivanhoe. 

4 Goldsmith's early life. 

5 The death of Banquo. 

6 Literary life in England in the eighteenth century. 



156 Studies in English 

III 

Answer all the questions: 

1 Explain the italicized words in the following pas- 

sages from // Penseroso: 

(a) The fickle pensioners of Morpheus' train. 

(b) 'Less Philomel will deign a song. 

(c) Or call up him that left half told 
The story of Cambuskan bold. 

(d) Storied windows richly dight. 

2 Give some account of Johnson's works. 

3 Who were Garrick, Reynolds, Burke, and Boswell? 

4 In what form were Macaulay's Essays first pub- 

lished ? 

5 From what source did Shakespeare take most of the 

material for Julius Ccesar? 



SHEFFIELD SCIENTIFIC SCHOOL 

(1905) 
A 

The candidate is advised to be careful in paragraphing, 
spelling, punctuation, and form of expression. 

Select either of the two following lists of topics, plainly 
indicating at the head of the paper which list is selected. 
Write short compositions {containing about one hundred 
words each) on five subjects chosen from that list. 



Appendix 157 

The candidate must draw all his subjects from the one 
list selected. 

First List 

1 The Excursion to the Waterfall in The Princess. 

2 The Elopement of Jessica. 

3 Cedric's Escape from Front-de-Bceuf's Castle. 

4 Antony's Speech over Caesar's Body. 

5 Sir Launfal and the Leper. 

6 Sir Andrew Freeport. 

7 Carlyle on the Sincerity of the Poetry of Burns. 

8 The Influence of Eppie upon Silas Marner. 

9 Carlyle on Burns as a Poet of Scottish Peasant Life. 
10 A brief Sketch of Goldsmith's Life. 

Second List 

1 Sir Lancelot in Gareth and Lynette. 

2 Sir Lavaine in Lancelot and Elaine. 

3 Arthur's Sword, Excalibur. 

4 The Elopement of Jessica. 

5 The Witches in Macbeth. 

6 Sir Andrew Freeport. 

7 Cedric's Escape from Front-de-Bceuf's Castle. 

8 The Songs in The Lady of the Lake. 

9 The Influence of Eppie upon Silas Marner. 
10 Goldsmith's Acquaintance with Dr. Johnson. 



158 Studies in English 

B 

1 (a) Describe in detail the scene in which occurs the 
knocking at the gate of Macbeth's castle. 

(b) How do Ross, Donalbain, and Hecate figure in 
the action in Macbeth? 

(c) Trace throughout Macbeth the part of Macduff. 

2 (a) Justify fully the phrase "companion pieces" 
often applied to L' Allegro and 77 Penseroso. 

(b) Thoroughly explain the significance of the follow- 
ing portion of the complete title of Lycidas: " The Au- 
thor ... by occasion foretells the ruin of our corrupted 
clergy, then in their height." 

(c) Discuss the songs in Comus. 

3 (a) What, according to Macaulay, were the most 
important public questions with which Milton concerned 
himself? 

(b) What does Macaulay say of II Penseroso, L' Alle- 
gro, and Comus? 

(c) Show clearly Macaulay's estimate of Richard 
Steele. 

4 What does Burke say, (a) of American commerce; 
(b) of American fisheries; (c) of precedents for concilia- 
tion. 



Appendix 159 

(1906) 

A 

The candidate is advised to be careful in paragraphing, 
spelling, punctuation, and form of expression. 

Write short compositions (containing about one hundred 
words each) on four subjects chosen from this list. One 
of these must be number 1, the others must be chosen from 
three different works. The Idylls of the King is to be 
regarded as one work. 

1 My Preparation for this Examination. 

2 The Discovery of the Murder of Duncan. 

3 The Elopement of Jessica. 

4 Gareth's Arrival at King Arthur's Court. 

5 Sir Roger and Moll White. 

6 Athelstane. 

7 Nancy Lammeter. 

8 Gawain's Search for the Winner of the Tournament. 

9 The Sleep- Walking Scene in Macbeth. 
10 The Stealing of Silas Marner's Gold. 

B 

The questions shoidd be answered in order: 

I (a) How does Artemidorus figure in Julius 
CcBsar? 

(b) How does Antony characterize Lepidus? 

(c) Describe in detail the scene between Brutus and 
Portia. 



160 Studies in English 

II (a) The earliest printed editions of Comus entitle 
the piece "A Mask presented at Ludlow Castle." Ex- 
plain fully the circumstances of its presentation. What 
passages in the Mask itself refer to these circumstances ? 
(b) Describe in detail the method of your preparation 
for the examination on Milton's minor poems. 

III (a) What successive steps in Burke's argument 
lead to the definite resolutions which he introduces ? 

(b) What are the chief arguments by which Burke 
supports these resolutions? 

IV (a) What does Macaulay say of Addison's Cato? 

(b) Of Addison's poem, The Campaign? 

(c) What information does Macaulay give concerning 
"Johnson's Club"? 

N. B. — For IV (a) and (b) may be substituted the 
following: 

(i) What does Macaulay say of Milton's minor 
poems ? 

(2) Of Paradise Lost and Paradise Regained? 



(1907) 
B 
Answer all questions fully and in order: 

I (a) Discuss the relation of Addison's literary fame 
to his political preferment. 



Appendix 161 

(b) How did Johnson come to write The Lives of the 
Poets? 

II (a) What was the occasion, and what the nature 
of Lycidas? 

(b) Describe the part played by the Attendant Spirit, 
from first to last, in Comus. 

III Trace the successive steps by which Brutus was 
won to the conspiracy. 

IV How did Burke's plan of conciliation with the 
colonies differ from other plans? 



UNIVERSITY OF PENNSYLVANIA 

(Spring, 1907) 

Note. — "No candidate will be accepted in English whose 
work is notably defective in spelling, punctuation, idiom or 
division into paragraphs." — Extract from the University 
Catalogue. 

A 

1 Analyze the following sentence and parse the words 
italicized: 

I grant there is one subject on which it is pleasant to 
talk on a journey; and that is, what one shall have 
for supper when we get to our inn at night. 
Studies in English — 11 



1 62 Studies in English 

2 Write a paragraph of about fifty words on each of 
the following subjects taken from the books of which a 
general knowledge is required: 

a Goldsmith's Hardships in London. 
b King Arthur's Last Battle. 
c The Character of Macduff. 
d The Contents of the Caskets. 
e Sir Roger at the Theater. 
B 
i How did Antony think the motive of Brutus in 
killing Caesar differed from that of the other conspirators. 

2 What attitude toward slavery is revealed in Burke's 
speech ? 

3 Tell the story of Comus. 

4 Tell where the following passage is found; in what 
measure it is written; scan it; and explain the italicized 
words: 

Sometimes with secure delight, 

The upland hamlets will invite, 

When the merry bells ring round, 

And the jocund rebecks sound 

To many a youth and many a maid 

Dancing in the chequered shade; 

And young and old come forth to play 

On a sunshine holiday, 

Till the livelong daylight fail : 

Then to the spicy nut-brown ale, 

With stories told of many a feat, 

How faery Mab the junkets eat. 



Appendix 163 

(Autumn, 1907) 
A 

1 Analyze the following sentence and parse the words 
italicized: 

The river goes on and on, and down through marshes 
and sands, until at last it falls into the sea, where 
the ships are that bring parrots and tobacco from 
the Indies. 

2 Write a paragraph of about fifty words on each of 
the following subjects taken from the books of which a 
general knowledge is required: 

a The Death of Roderick Dhu. 

b Lynette's Contempt of Gareth. 

c The Witches' Part in Macbeth. 

d The Characteristics of Saxon and Norman in 

Ivanhoe. 
e Nancy Lammeter. 

B 

1 Write a character sketch of Dr. Johnson as you see 
him in Macaulay's essay. 

2 Give your impression of Addison as a man of letters, 
judging by Macaulay's essay. 

3 What part do Portia and Calpurnia play in Julius 
CcBsar? 

4 Tell where the following passage is found: in what 



164 Studies in English 

measure it is written; scan it; and explain the italicized 
words: 

But let my due feet never fail 

To walk the studious cloister's pale, 

And love the high embowered roof, 

With antique pillars massy proof, 

And storied windows richly dight, 

Casting a dim religious light. 

There let the pealing organ blow, 

To the full-voiced quire below, 

In service high and anthems clear, 

As may with sweetness, through mine ear, 

Dissolve me into ecstasies, 

And bring all Heaven before mine eyes. 



YALE COLLEGE 

(Spring, 1905) 

A 

The purpose of this examination is to test (1) the can- 
didate's knowledge and appreciation of certain specified 
works, and (2) his ability to write correctly. As bearing 
on the latter point, he is advised to go over his paper 
carefully before the end of the time allowed, correcting 
any inaccuracies, not neglecting capitals and punctua- 
tion. 

Write about two hundred words on each of three topics 



Appendix 165 

selected by yourself from the following list (of a pair of 
subjects enclosed in brackets, choose but one): 
\ Jessica's Escape from her Father's House. 
iLauncelot Gobbo. 
Sir Roger at Church. 

The Encounter of Fitz- James and Roderick Dhu. 
Goldsmith's Life as a Student. 
The Circumstances of the Composition, the First 
Performance, and the Publication of She Stoops 
to Conquer. 
f Lynette's Behavior toward Sir Gareth. 
"4 The History of " the nine-years-fought-for dia- 
*> monds." 

Carlyle's Defense of Burns's Personal Character. 
(Only candidates taking final examinations may choose 
the last.) 

B 

1 (a) Explain the significance of the italicized words 
and phrases: "Memorize another Golgotha"; "To alter 
favor ever is to fear"; "Wicked dreams abuse The cur- 
tained sleep"; "But in them nature's copy's not eterne"; 
"His two chamberlains Will I with wine and wassail so 
convince." 

(b) What important persons of the drama are absent 
from the banquet? Where is each at that time? How 
far do these circumstances influence any later events in 
the play? 



1 66 Studies in English 

(c) Give the substance of Malcolm's actions and 
utterances as far as they are presented on the stage. 

2 (a) What is said respecting the parentage of Mirth 
and Melancholy in V Allegro and 77 Penseroso? In- 
terpret the meaning of each of the various suggestions. 

(b) What was that snaky-headed Gorgon shield 
That wise Minerva wore, unconquered virgin, 
Wherewith she freezed her foes to congealed stone, 
But rigid looks of chaste austerity, 
And noble grace that dashed brute violence 
With sudden adoration and blank awe ? 

Locate the above quotation as exactly as you can, and 
show its relation to the general subject of the poem. Ex- 
plain fully the allusions in the first three lines. 

3 (a) "First, then, I cannot admit that proposition of a 
ransom by auction, because it is a mere project. . . . 
Secondly, it is an experiment which must be fatal in the 
end to our Constitution. . . . Thirdly, it does not 
give satisfaction to the complaint of the Colonies." What 
was "that proposition"? Give the substance of Burke's 
objections under the above headings. What is the rela- 
tion of this part of the speech to the whole? Was the 
" proposition " accepted ? 

(b) What connection with the main argument has 
Burke's discussion of slave-holding in the Colonies? 

4 (a) Macaulay's remarks on Comus; (b) on Addison 
as a critic. 



Appendix 167 

(1906) 

A 

Write about two hundred words on each of three topics 
selected by yourself from the following lists {of a pair of 
subjects enclosed in brackets, choose but one): 

( The Banquet Scene in Macbeth. 
\ The Character of Antonio. 

The Jessamy Bride. 

Gurth. 
t The Contrast between Gareth and Geraint. 
< Tennyson's Use of Natural Scenery in The Passing 
( of Arthur. 

A comparison of the Moral of The Ancient Mariner 
with that of The Vision of Sir Launfal. 

The finding of Eppie. 

B 

I (a) Narrate the events in Julius Cazsar that occur 
on the Ides of March, before the murder. 

(b) In what book did Shakespeare find the material 
for Julius Cazsar? How does his conception of the char- 
acter of Caesar resemble or differ from that which you 
have formed in your study of Caesar's Gallic Wars or of 
Roman history? 

II (a) Sometime let gorgeous Tragedy 

In sceptred pall come sweeping by, 



1 68 Studies in English 

Presenting Thebes, or Pelops' line, 
Or the tale of Troy divine, 
5 Or what (though rare) of later age 
Ennobled hath the buskined stage. 

(i) To what is Milton referring in line 3? (2) Com- 
ment on lines 5 and 6. (3) What is meant by "sceptred 
pall"? by "buskined stage"? (4) What similar pleasures 
were enjoyed by L' Allegro? 

(b) Milton's remarks on the clergy in Lycidas. 

III (a) Into what great divisions does Burke's Speech 
on Conciliation with America fall? What digression 
from the main subject is made, and for what reasons ? 

(b) What plan had been proposed by the "Noble Lord 
in the Blue Ribbon"? On what grounds did Burke 
criticize it? 

IV Macaulay's remarks on the nature and influence 
of Addison's Spectator. 



(1907) 
A 
Write about two hundred words on each of three topics 
selected by yourself from the following list {of a pair of 
subjects enclosed in brackets, choose but one): 

The Conversation between Lorenzo and Jessica in 

Act V of The Merchant of Venice. 
The Effect of the Murder upon the Character of 

Lady Macbeth. 



Appendix 169 

Sir Roger and the Widow. 
The Publication of The Vicar of Wakefield. 
The Personal Appearance of Silas Marner. 
j Bedivere. 

I Gareth's Combat with "The Noonday Sun." 

B 

I Describe (a) the interview between Brutus and 
Portia, and (b) Brutus's treatment of Lucius in his tent 
near Sardis. How does each of these scenes affect our 
estimate of the character of Brutus? What is the last 
we hear of Portia ? 

II W 7 hat opportunity is provided in Comus for the 
introduction of instrumental music? dancing? display 
of scenery? Describe the concluding scene (beginning 
with the appearance of Sabrina) as you imagine it to 
have been performed at Ludlow Castle in 1634. 

Ill (a) What, according to Burke, are the three possi- 
ble ways of dealing with the American spirit of liberty ? 
State his reasons for rejecting the first two. 

(b) What does Burke think should be the attitude of 
one nation toward another in such a crisis as the one 
under discussion? 

(c) Cite any reasons that appeal to you as helping to 
explain the fame of Burke's Speech on Conciliation with 
America. 



170 Studies in English 

IV (a) Write an account of Johnson's early years in 
London. 

(b) Macaulay says of Johnson: "No human being 
who has been more than seventy years in the grave is so 
well known to us." Discuss the grounds for this state- 
ment. 



WELLESLEY COLLEGE 

(1906) 
A — Reading and Practice 

Answer two of the following questions : 

1 What qualities do Lady Macbeth and Portia of 
Belmont have in common, and at what point do their 
characters diverge? 

2 Which of the three required Idylls of the King, viz. 
Gareth and Lynette, Lancelot and Elaine, The Passing of 
Arthur, seems to you more beautiful, and why? 

3 Compare the life of Goldsmith with that of Dr. 
Johnson. Which life seems to you the more successful? 

B — Study and Practice 

Answer two of questions 1, 2, 3, question 4, and either 
question 5 or 6: 

1 What makes the play of Julius Ccesar great ? 

2 Compare the nature pictures in V Allegro with those 



Appendix 171 

in 77 Penseroso, using, if you prefer, Milton's own lan- 
guage. 

3 What were Burke's strong points as an orator? 

4 Write a well-constructed paragraph of about two 
hundred words on the character of Samuel Johnson as 
presented by Macaulay. Give your reasons for the 
arrangement of the ideas in your paragraph. Show how 
the principles of unity and coherence are illustrated by 
the arrangement of the ideas or material of your para- 
graph. 

5 (a) Give two examples of each of the following 
kinds of sentences: simple, complex, compound. 

(b) Punctuate the following passage: 

"And night came down over the solemn waste 
And the two gazing hosts and that sole pair 
And darkened all and a cold fog with night 
Crept from the Oxus soon a hum arose 
As of a great assembly loosed and fires 
Began to twinkle through the fog for now 
Both armies moved to camp and took their meal 
The Persians took it on the open sands 
Southward the Tartars by the river merge 
And Rustum and his son were left alone." 

6 (a) Give explicit reasons for the correctness or the 
incorrectness of the following sentences: 

(1) He, in a moment of excitement and affection, 
did this act of beneficence and of which he 
was very proud. 



172 Studies in English 

(2) We know that Oliver Goldsmith was himself 

not unlike the Vicar of Wakefield, which may 
partly account for the charm of the book. 

(3) I neither regarded myself as rich nor poor. 

(4) The book will not fail of a permanent place in 

literature, because it is badly written. 

(b) Give examples of the correct use of the following 
words: affect, complement, mad, nice, fellow. 



WESLEYAN UNIVERSITY. 

(1907) 

Allow one hour for each division of the examination. 

Consider what you will say, and in what order you will 
say it, before you begin to write at all. 

Revise your work, and, if time permits, make a clean 
copy of it after revision. 

No candidate will be accepted in English whose work 
is notably defective in spelling, punctuation, idiom, or 
division into paragraphs. 

I — Reading and Practice 

One especial purpose of this division of the examina- 
tion is to test the ability of the candidate to express his 
thoughts in clear, connected sentences, properly combined 



Appendix 173 

in at least three paragraphs. Single, detached sentences 
will not meet the requirements. 

Select three of the following topics for discussion. Be 
accurate and avoid generalities. 

1 Give an account of Sir Roger at the play. 

2 Describe Arthur's last battle and the last scene in 
The Passing of Arthur. 

3 (a) Under what circumstances and by whom are the 
following lines uttered? 

The man that hath no music in himself, 

Nor is not moved with concord of sweet sounds, 

Is fit for treasons, stratagems, and spoils. 

(b) Outline the action from this point to the end of 
the play. 

4 Goldsmith's life on the Continent after he left 
Dublin. 

5 Describe the place, the cause, and the results of 
the combat in The Lady of the Lake. 

6 Give an account of the part of Gawain in Lancelot 
and Elaine. 

7 Describe the attack on the castle of Front-de-Bceuf. 

8 (a) Explain the following lines in every detail: 

I hear it by the way; but / will send: 
There's not a one of them, but in his house 
/ keep a servant Jee'd. I will to-morrow 
(And betimes I will) unto the weird sisters. 



174 Studies in English 

(b) What results from this resolution ? 

II — Study and Practice 

Discuss fully each topic in order as jar as you go, even 
though you may not finish the paper. 

i Outline the part played by Casca, and quote any 
of his notable sayings. 

2 Show in some detail what difficulties Burke finds 
in the attempt to change the spirit of the Colonists. 

3 Who utters the following lines; to whom, where, and 
why? 

Come lady, while Heaven lends us grace, 
Let us fly this cursed place, 
Lest the sorcerer us entice, 
With some other new device. 

4 Give an account of Johnson's friendship with the 
Thrales. 

5 Macaulay's defence of Milton's political career. 



GATEWAY 
SERIES OF ENGLISH TEXTS 

General Editor, HENRY VAN DYKE, Princeton 

University 



TNCLUDES the English texts required for entrance 

to college in a form which makes them clear, 

interesting and helpful in beginning the study of literature. 

Addison's Sir Roger de Coverley Papers (Winchester) . . . #0.40 

Burke's Speech on Conciliation (MacDonald) .35 

Carlyle's Essay on Burns (Mims) .35 

Coleridge's Rime of the Ancient Mariner (Woodberry) . . .30 

Emerson's Essays — Selections (Van Dyke) .35 

Franklin's Autobiography (Smyth) .40 

Gaskell's Cranford (Rhodes) .40 

George Eliot's Silas Marner (Cross) .40 

Goldsmith's Vicar of Wakefield, and the Deserted Village 

(Tufts) . . . 45 

Irving's Sketch Book — Selections (Sampson) .45 

Macaulay's Essay on Addison (McClumpha) 35 

Essay on Milton (Gulick) .35 

Life of Johnson (Clark) 35 

Addison and Johnson. One Volume. (McClumpha- 

Clark) 45 

Milton's Minor Poems (Jordan) .35 

Scott's Ivanhoe (Stoddard) .50 

Lady of the Lake (Alden) .40 

Shakespeare's As You Like It (Demmon) .35 

Julius Caesar (Mabie) .35 

Macbeth (Parrott) 40 

Merchant of Venice (Schelling) .35 

Tennyson's Idylls of the King — Selections (Van Dyke) . . .35 

Princess (Bates) .40 



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AMERICAN BOOK COMPANY 

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